What You Don’t Know About Publishing May Be Costing You

[Article originally posted on SoundCtrl]

By TuneCore Publishing

If you’re a musician in the US, there’s a good chance you’re familiar with the names ASCAPBMI and SESAC. You also likely know that joining one of these Performance Rights Organizations (PROs) will help you collect royalties that you’ve earned as a songwriter.

What you may not realize is that the world of rights and royalties is incredibly complex, and in this increasingly global, multi-platform world, you might not be quite as covered as you think. In this article, we take a look at the royalties PROs can and can’t collect and demonstrate how a publishing administration partner like TuneCore Publishing Administration, in conjunction with PROs, can help ensure you’re able to get your hands on all the revenue your songwriting earns.

Performance Is Just One Type of Right

The first misconception held by many songwriters is that copyright is a single thing – like a blanket – that covers your work. The reality is it’s more like a quilt, and if one piece of that quilt is missing, you may be left in the cold.

There are multiple ways compositions generate revenue for songwriters. Organizations like ASCAP and BMI cover one of them: the P in PRO, Performance. While Performance encompasses much more than an actual stand-on-the-stage-and-play situation, it by no means covers all uses of a composition. It’s these other revenue generators that, if you only work with a PRO, may represent earnings that are just sitting on the table.


What Is Performance?

Performance quite obviously includes live public performances, but it also includes radio play and even having your composition played as background music in a public place like a restaurant or hair salon. As a group, these are referred to as “Analog Public Performance,” and the royalties they generate are based on negotiations between your PRO and the radio station, TV network, bar, restaurant, airline, office, etc. using your composition.

Thanks to the Internet, royalties are also collected for “Digital Public Performance.” This category is then subdivided into Non-Interactive and Interactive “Streaming” Public Performance. Non-interactive services are those that don’t allow you to pick songs, create playlists or otherwise “interact” with the music. Pandora, iHeartRadio and Sirius XM Satellite Radio are examples of non-interactive platforms. Interactive service examples are YouTube and Spotify. For any of these uses, there’s no set royalty rate. Royalties are negotiated between the PRO and the other entity and are often based on a percentage of that entities’ gross revenue.

If the song you wrote is performed or broadcast publicly in one of these settings, and you’re affiliated with ASCAP, BMI or SESAC, you can feel safe in knowing that they will collect on your behalf and pay you…at least in the United States.

US-Based Organizations Cover the US

Copyright regulations are laws, and as such, they are codified and enforced in each territory. Much like how the NYPD won’t be giving you a traffic ticket in Los Angeles, ASCAP isn’t collecting for you in Germany. Or France. Or Malaysia. Those countries have their own “societies” for the enforcement of copyrights and collection of royalties.

Fortunately, there is a measure of cooperation. ASCAP or BMI will work with the society in whatever country to get you paid, but again, this is just covering PERFORMANCE. So imagine you gave permission for your song to be used in the TV Show Breaking Bad. It airs in the US so your PRO collects any resulting performance royalties for you and pays you. As a result of the song being in the show, your iTunes downloads skyrocket, and again, your PRO will get you paid. But if the show airs in Germany, and as a result your song catches fire on Spotify in that country, you will only get a part of what you’ve earned – the performance royalty. You will NOT receive royalties collected as a result of the streaming mechanical or download mechanical. Instead, the society for the region will collect the money on your behalf, but because they don’t know who to pay, they’ll just sit on it. By contrast, once you’ve registered with a company for publishing administration, they will track rights and collect on your behalf worldwide.

These internationally-earned royalties can really add up, too. For example, TuneCore Songwriter Brian Crain, an ASCAP member, had distributed and even licensed his music for a few years before he learned that his PRO wasn’t collecting everything he’d actually earned. As soon as he signed up for TuneCore Publishing Administration, TuneCore was able to get $4000 in download mechanicals to him that had previously just been sitting in Canada.


“Performance” Covers a Lot, but Not Everything

In addition to performance, royalties and revenue are generated when your compositions are sold, streamed through interactive services, downloaded, or when they are licensed for use in something like a TV show or movie. These avenues can be incredibly lucrative. But if you’re just relying on a PRO, the money generated by them may never make it into your pocket. In these cases, a publishing administration service is essential. In the past, these services were only available to the most elite tier of songwriters. Today, in much the same way that digital has opened the door to global distribution for all, any songwriter can get a publishing administration partner.

Mechanical Royalties

If you write a composition and someone copies, prints, covers or even transforms it into something else, you’re owed a “Mechanical Royalty.”

Reproduction is one of the main ways compositions generate mechanical royalties, and these royalties are owed on every single CD, LP or other physical manifestation of that composition. As soon as that “thing” is made, the royalty has been earned. If a million CDs are burned but not a single one sells, it’s still a reproduction of a million units. Every time a sound recording is downloaded or streamed (interactively) on digital stores like iTunes, Amazon or Google, it counts as a separate reproduction, as well.

Mechanical royalties are also collected for “Derivatives” of your composition. An easy example of a derivative use would be someone doing a bossa nova rendition of your hip-hop song. While this transformation no longer counts as a reproduction, you’ve still earned royalties for the use.

According to the letter of the law, derivative works include any work based on one or more pre-existing works. This could be a translation or new musical arrangement but could also include a dramatization, fictionalization or even a movie version. A good and complicated example of this is “Born in East LA,” a movie that was derived from a Randy Newman composition that was derivative from Bruce Springsteen’s composition, “Born in the USA.” Every time the movie gets shown, Bruce earns mechanical royalties.

PROs like ASCAP, BMI, SESAC or SOCAN do not collect mechanical royalties. This means any revenue you’ve earned from streams, downloads (outside of the US & Latin America) and physical sales are not collected by ASCAP and won’t make it into your pocket. While the royalties will be collected per the law by places like digital stores that stream and sell downloads outside the US & Latin America, without publishing administration, they won’t know who to pay. The money, therefore, goes unclaimed. A publishing administrator, on the other hand, will register your information with these sources, song by song, and you’ll collect the mechanical royalties that you’ve earned.



If we go back to the example of the bossa nova rendition of your hip-hop song, we’ve already established that mechanical royalties will be collected on your behalf, but you may not ever receive that money. What we haven’t yet discussed is the fact that you have to give permission to the band in order for them to legally do the rendition in the first place. That permission – or more accurately, the licensing of your intellectual property – is another avenue to revenue. It’s also a road the PROs can’t help you navigate.

Licensing comes into play with more end uses than just our derivative examples. Use of samples requires a license, and as we’ve seen through lawsuits against Robin Thicke, Jay-Z, Moby, Kanye West and scores of other artists, failure to obtain the correct permissions can have costly results. Also in this category are things like mobile ringtones, printed sheet music, online guitar tabs and even lyrics posted online. Legally, anyone doing these activities without the proper license is in violation of the law.

In a lot of these cases, it’s completely plausible that the violators are unaware of their crimes, but ignorance does not make them innocent. They’ve violated your rights and you could sue them. But first you’d have to find the unlicensed use, then you’d have to figure out how much it’s worth and then good luck actually collecting. ASCAP and BMI can’t help you here. A publishing administrator can.


We at TuneCore believe very strongly that Performing Rights Organizations are an incredibly important and necessary tool for songwriters and publishers. They are the watchdogs of the airwaves, so to speak, with the enormous task of collecting performance royalties from thousands of sources. However, we also see how this is a very different business than it was back in the days of physical media on brick-and-mortar store shelves. Now, both the media and shelf can be digital and the channel and audience can be anywhere in the world.

Every year, millions of dollars in royalties that are collected on behalf of songwriters by societies all over the world just sit, unclaimed, because the songwriter doesn’t have a publishing administrator locating and obtaining these funds. That’s why it’s crucial to have a publishing administrator in addition to your PRO, so your share of those millions of dollars makes it into your pocket.

How Composer Brian Crain Unlocks Worldwide Songwriter Royalties

TuneCore’s Music Publishing Administration team works hard to help the songwriters in our community collect and generate songwriter royalties all over the world.  For many composers, working with a music publisher to collect royalties from the songs they have written can be a significant income stream.  We recently caught up with one such composer, Brian Crain, whose compositions have been used on the big (and small) screens.  Find out how TuneCore Music Publishing gets Brian songwriter royalties he didn’t even know he had, and how he sees the role of the songwriter shifting as the music industry continues to evolve. 

How were you collecting and managing your songwriter royalties before becoming a TuneCore Music Publishing Administration client?

Before TuneCore Publishing I was only using ASCAP.  They have been really good for my music but I didn’t realize how many more royalties you can collect with a Publishing Administrator in addition to ASCAP.

Why did you decide to get a publishing deal with TuneCore?

I’ve been a fan of TuneCore ever since my first release with them back in 2007.  They have always treated me well and I felt that I could trust them.  Also, it was easy to sign up and I thought that they would bring in a few extra dollars.  Being an independent musician, it’s important to collect from as many different sources as you can.  It all adds up.

Your compositions have been used in commercials and TV programming in Asia, and you were honored as the Honorary Cultural Ambassador for Yeongwol, South Korea (congrats!).  How have you been able to develop a fan base in Asia? 

Yes, I have had great success in Asia.  My start in South Korea was similar to my start with TuneCore Publishing.  Back in 2000, a small record company emailed me and asked if they could release one of my albums.  The royalty was very low ($1,000) but I thought that I wasn’t going to sell any CDs to Korea by myself so why not give them a shot.  They were able to place my song “Butterfly Waltz” in a popular drama and the song became very popular.  They ended up selling over 40,000 CDs.  From the album’s success, I was able to tour South Korea and establish a large fan base.  I still tour every year and almost everyone in South Korea knows my music.

On a recent tour of Asia, I played in a small town called Yeongwol.  I was so moved by the beauty of the surrounding area and the wonderful people in Yeongwol that I wrote a song for them. The Ambassadorship was a big surprise and a great honor.

What has been the most lucrative publishing revenue stream for you? 

Currently my most lucrative revenue stream is from TV and movie publishing deals that TuneCore Publishing brokers for me.  I am very grateful to have an expert look over the contracts.  I’m pretty good at reading legalese but it’s great to have another advocate on my side. TuneCore Publishing has become, in effect, my agent.

Has the Creative Team at TuneCore Publishing helped negotiate sync opportunities that came to you directly?

Yes, I just had them negotiate a motion picture deal that will have wide distribution in theaters this summer.

Have any of the royalties youve received come from a source that surprised you?

My first great surprise with TuneCore Publishing was the $4,000 that they got for me from Canada.  Apparently, there was a cash of uncollected royalties waiting for me that I wouldn’t have known about without TuneCore.

What do you think is the biggest opportunity for songwriters related to Music Publishing?

I owe so much of my success to my record company in South Korea for licensing “Butterfly Waltz” in that TV Drama.  So much good has come from that one placement.  I don’t even know the name of the drama, but that opportunity and the snowball effect have changed my life.  Opportunities happen all the time and you have to be ready for them to happen.  I know TuneCore will be there for my next big thing.

How do you use the TuneCore Publishing tools? (e.g. do you check on the status of your compositions with Composition Manager?)

I use all of TuneCore’s information tools.  Information is the key to success in the business.  I check for changes every day and look for patterns that I can utilize in my marketing.

Do you consider publishing royalties as supplemental income?  Or with its continued growth, is it a major source of income for you?

It is a big part now and will get bigger in the future.  Publishing and streaming royalties are the future of the business.

How do you see the role of the songwriter shifting as the music industry continues to evolve?

Right now the majority of royalties are going to mechanical.  I see performance and mechanical becoming more equal in the future.  Every good business knows that content is king, and will eventually take care of the creators.

 [Editor’s Note: Are you a songwriter? Check out how we work with songwriters to register, license, and pitch their songs worldwide, and help them collect their hard-to-get songwriter royalties.]

TuneCore Promotes Scott Ackerman to CEO

Appointment recognizes Ackerman’s influence in leading growth across products and services during tenure as President and COO

NEW YORKMay 28, 2014 /PRNewswire/ — Leading digital music distribution and music publishing administration company TuneCore announced today that Scott Ackerman has been named CEO. The move solidifies the company’s leadership in anticipation of continued expansion across services and continents to support TuneCore’s mission to bring more music to more audiences around the world while also increasing revenue-generating opportunities for artists and songwriters.

Ackerman, who joined TuneCore as COO in 2010, and has been running the company since 2012 during which time he was promoted to President, has been a driving force behind major developments at TuneCore that support independent artists as they pursue their musical journeys. During his tenure, TuneCore has cemented its standing as a partner of choice for musicians and songwriters, helping artists to reap the benefits of their craft. In Q1 2014 alone, TuneCore paid out $34.1 million to artists in revenue generated from nearly 1.3 billion downloads and streams, a 75% increase over the same period in 2013.

Over the past two years, Ackerman and the TuneCore team have spearheaded expansion initiatives that ensure TuneCore Artists have the best toolset and network in the industry to get their voices heard and to optimize their earning opportunities globally. TuneCore has developed a vast international reach, illustrated by the successful launch of TuneCore Japan, and, most recently, the addition of KKBOX, the largest provider of digital music subscription services in Asia, to its partner network. In 2014, TuneCore Music Distribution has added a new store every month, bringing artists access to over 80 of the most popular digital stores worldwide.

TuneCore also continues to expand its industry-leading Music Publishing Administration platform, helping all songwriters maximize their publishing royalties worldwide, including collecting income from their YouTube views. Additionally, the TuneCore Sync & Master Licensing Database and in-house creative team who work directly with music supervisors help Publishing clients to increase their revenue opportunities by securing licensing deals for TV, film and commercials.

“As we look ahead, Scott is a natural choice to lead the company as TuneCore strives to give musicians ever greater support and opportunities,” stated TuneCore Board Chairman Art Shaw. “Not only have we developed more significant ways to help artists be discovered and earn meaningful revenue from their gift, but under Scott’s leadership we are growing quickly, allowing us to invest more than ever to help artists.”

About TuneCore

TuneCore brings more music to more people, while helping musicians and songwriters increase money-earning opportunities and take charge of their own careers. The company has one of the highest artist revenue-generating music catalogs in the world, earning TuneCore Artists $405.6 million on 6.1 billion streams and downloads since inception. TuneCore Music Distribution services help artists, labels and managers sell their music through iTunes, Amazon MP3, Spotify, Google Play, and other major download and streaming sites while retaining 100% of their sales revenue and rights for a low annual flat fee. TuneCore Music Publishing Administration (based in Burbank, CA) assists songwriters by administering their compositions through licensing, registration and worldwide royalty collection, including collection of YouTube revenue in partnership with INDMUSIC. TuneCore is based in Brooklyn, NY and is backed by Opus Capital and Guitar Center. For more information, visit www.tunecore.com.

New Store Alert: KKBOX Gives Direct Access to Booming Asian Market


Lately we’ve been all about adding new stores for our artists.  Why?  New stores means more people listening to your music.  And that means more money in your pocket.  Not such a bad deal, right?

So here’s our new store, it’s a big one.

Introducing…KKBOX! (please pretend you didn’t read the title of this post or see the massive logo above so as to preserve dramatic effect.)

Here’s why you should send your music there:

  • KKBOX is the largest provider of digital music subscription services in Asia.
  • Distributing to KKBOX means you have the opportunity to reach their 200 million (and growing) subscribers.
  • KKBOX is available in Japan, Taiwan, Hong Kong, Macao Singapore, Malaysia, and Thailand.
  • It takes only 48-72 hours for most releases to go live in the store after distribution.

Convinced?  Distribute your music to KKBOX now and start growing your fan base in the Asian market.

How Ontario-Based Artist SayWeCanFly Is Growing His Career

For this artist spotlight we’re heading up to Ontario, where Braden Barrie is finding independent success as the one-man acoustic act SayWeCanFly.  He’s toured the U.S. and Canada, building a loyal fan base through music intended to inspire power and a never-give-up attitude.  We had a chance to talk to the driven artist about what has helped him along the way, how he’s booked his tours, and why he partners with TuneCore for both Distribution and Publishing Administration

What does being independent mean to you?

Being independent means doing absolutely everything I possibly can to reach my goals and advance my art.  It means that no matter what anyone thinks, says, or does, I will always walk forward and find a way to do what I need to do.  I honestly believe that working for myself and finding the right team of individual people is the most efficient way to work toward where I want to be as an artist, and as a person.  Being independent is cutting out the middle man wherever I can, and finding better and more direct ways to get my music out to the world.

How would you describe the indie scene in Canada? Is it large? Diverse? Is there a real community?

I know so many independent artists, along with myself, who are trying to “make it” in the industry.  It feels to me that in this day and age, unless you truly commit every waking moment to your art, it will be nearly impossible to swim to the top.  There are so many people trying to do the same thing here, that you really need to make yourself stand out in order to catch the attention of others.  That certainly is not to say that there isn’t a very diverse community of talented and passionate musicians over here.  There are constant local shows, and everyone knows everyone in this scene, which makes it feel kind of small.  I really enjoy the Canadian music scene because it’s easy to make friends, and there seems to be respect between artists.

You’ve completed several DIY-booked tours. Can you explain what the process was like (how you chose cities, found venues, etc.)?

I actually had a booking agent (now one of my close friends) start booking my tours.  He found me on Facebook after I played my first show in my hometown, and sent me a message asking if he could book me a little tour through Ontario.  I guess it just comes down to finding the venue and promoter contacts, and sending lots of emails.  It was really nice having someone else take care of this because at that point I really didn’t know anything about this business, or the music scene here.

You’ve worked with Trey from The Icarus Account (another TuneCore Artist)—what was that like? Is it important for you to work with other indie or pro-indie artists? 

I really do think that networking is the key to success in any business or art.  Working with new people and showing interest in their work allows room for friendships and working relationships to develop.  The Icarus Account was one of my inspirations as a kid, so to eventually become friends with these guys through the internet was really cool.  It was nice to create something with a group I looked up to for their independence.

How’s TuneCore part of your team?

TuneCore has literally allowed me to start and continue my career as a musician.  Although I don’t think money should ever be the sole motivation for doing something we love, it is definitely important.  Being a musician and constantly having to create new content gets expensive, and TuneCore has allowed me to make a living out of something I love doing.  This in turn allows me to continue doing it.  I actually found out about TuneCore by asking the guy who worked at my local record shop (when that still existed) how bands put music on iTunes, and I immediately saw an amazing opportunity for my music.

Do you use the trend reports and sales reports in your account to learn from and grow your brand?

One of the first things I do when I wake up (aside from pouring myself a cup of coffee) is open my browser and look at my daily trend report.  This allows me to keep very close track of my song sales, and gauge how SayWeCanFly is doing as a whole on the internet.  If social media numbers are not resulting in song sales, then I know I have to do something different.  It’s an easy way to test new marketing strategies and see the results the next day.  This is one of the most useful tools that we as musicians have access to.  As for sales reports, this is incredibly useful for keeping track of income for tax purposes, which is also an important thing to keep in mind when looking at your music as a business.

Why did you decide to partner with TuneCore for Publishing Administration?

I decided to partner with TuneCore for Publishing Administration to cover all of my bases.  It’s just nice to know online royalties will be taken care of, and also that my songs will automatically be registered with SOCAN.  It simply saves me some worry for a very affordable cost.  It is also nice to know YouTube revenue will be taken care of, and there is no room for any copyright issues because everything is registered and protected under my name.

What one tip would you give to other indie artists looking to grow their careers?

My best advice to anyone is to learn, observe, and stay active.  People are constantly on the internet, which means musicians need to be there as well.  The MOST important thing to me is interacting with the people who listen to my music after they hear it.  Grow a relationship with your followers, and allow them to become your friends.  Remember how important they are, and make sure they always know it. Keep your content fresh, and don’t take a day off unless you feel like you can afford it.  If you aren’t tweeting people about your music, someone else is tweeting those people about theirs.

What (or who) has helped you along the way?

My followers have been the biggest help so far. They show me that my music actually means something to someone, which truly gives me a reason to continue.  As much as writing songs makes me feel better about my existence on this earth, it still became a whole different story when I realized people actually wanted to hear what I had to say.  My friends have been incredibly supportive as well, and if they hadn’t driven me on my first few tours and been willing to come on my adventures, I don’t know where I would be.  I also believe that goal setting and positive thinking are the source of longevity.  Letting negativity or doubt come between you and your passion is dangerous.

You’re currently recording your first full length album. What can fans expect?

I really do feel like this album is the one I have been waiting to record for years.  I actually answered these questions right after getting back from the studio, and I have to say, I have never felt so connected to my art as I have since I started tracking this album.  The record contains 16 songs, and tells my story.  I really like that writing songs makes me vulnerable to others. I like being honest with everyone about the mistakes I have made, the struggles I have faced, and the darkness I have overcome.  I really just wrote about the thoughts and events that being a human being on this earth has presented me with so far.

I’m bringing this one back to acoustic roots, and I guess I could describe it using the word “emo.”  I really hope everyone likes it, and I will of course be releasing it through TuneCore.  Thanks again for allowing me to work for myself and grow closer to my goals as an artist in the music business.

How We’re Helping Songwriters Get Their Music in Film, TV & More

An Interview with Pete Rogers, Creative at TuneCore Music Publishing Administration.

TuneCore Music Publishing Administration’s mission is to offer songwriters and publishers a simple, more viable solution for managing the rights to their compositions.  With 100+ years of combined experience, our in-house staff excels at registering, licensing, pitching, and processing royalties due for songwriters’ compositions.  One of the most exciting revenue opportunities for songwriters is in synchronization licensing, and TuneCore Music Publishing’s Creative department is dedicated to helping songwriters get their music placed in film, TV, commercials and more.

We asked Pete Rogers, Creative, to tell us a little about his role at TuneCore, what songwriters can do to have a better chance of getting noticed by Music Supervisors, and what exposure songwriters gain from the TuneCore Sync & Master Licensing Database.

What does the Creative team do at TuneCore Music Publishing Administration? 

The Creative team is tasked with securing synchronization licenses for the TuneCore administered copyrights.  In effect, we help our songwriters by placing their music in TV shows, films, trailers, and more.  Sync uses are a great way for songwriters to gain exposure and drive sales in addition to generating backend performance revenue that we collect around the world.  To maximize earnings, our in-house licensing staff will also negotiate use of the master recording if it is distributed by TuneCore.

What are some recent placements you’ve facilitated for TuneCore Songwriters?

We had a really great month-long feature on ESPN for The Specktators, an amazing hip-hop group from Michigan, and we’re excited about an upcoming placement in Sean McNamara’s new film Hoovey.  (You can see some more recent placements here.)

Tell us about your background.

I started my career in the Creative department at a major label here in Burbank before coming over to TuneCore.  It was always my dream to work in the business side of music, so I’m thrilled to be working with the high caliber songwriters we represent.

How do you work with Music Supervisors?

The Creative team works closely with film, television, trailer, video game and advertising Music Supervisors to make sure our catalog of compositions is always fresh in their minds for potential opportunities.  We suggest song ideas for upcoming projects when they reach out, and we’re also in frequent contact with them to keep current on new and returning licensing opportunities.

What is the TuneCore Sync & Master Licensing Database?  How do artists and songwriters get their compositions in the database?

We built an online destination for Music Supervisors to search, listen to and request licensing quotes on the compositions we administer.   It’s a fantastic resource for Music Supervisors to access the amazing TuneCore music in conjunction with the proactive outreach the Creative team provides.  Songwriters’ administered compositions are included in the database if they are currently distributed by TuneCore.

What are Music Supervisors looking for in a song?

Music Supervisors are looking for all kinds of things—that’s part of what makes this industry exciting!  We have conversations about licensing everything from singer-songwriter music to Middle Eastern hip-hop to classical to heavy metal.

What 3 tips would you give a songwriter looking to get a Music Supervisor’s attention?

1.  Maintain a social media presence so Music Supervisors can see how actively engaged your fan base is.  High fan engagement could tip the scales in favor of one song being selected over another.

2.  Create a cappella and instrumental versions of your songs before the session is wrapped.  You can also have our partners at Universal Mastering Studios create these versions during the mastering process.

3.  Create clean or alternate versions of songs that include profanity so you’re not limiting yourself to R-rated projects only.

What happens if a TuneCore Songwriter is approached directly about a sync licensing opportunity?  How is TuneCore’s Creative team involved?

Having TuneCore administer your copyrights allows you to take advantage of our wealth of knowledge and experience when it comes to negotiating the most favorable licensing terms on your behalf.  By notifying us when licensing opportunities arise, we as professionals will not only negotiate and issue the license, but we will also submit cue sheets to the societies worldwide so our songwriters can benefit from the performance revenues these uses generate.

So, why should a songwriter partner with TuneCore Music Publishing Administration for sync licensing opportunities? 

TuneCore has been a trusted industry leader in distribution for years, and that reputation precedes us in publishing administration and licensing as well.  The Creative team gives a songwriter’s music the attention it deserves when it comes to royalty collection, pitching and licensing.  Our commission structure is among the most songwriter-friendly in the business, and the best part of all is that songwriters maintain ownership of their copyrights.

(Editor’s Note: Interested in learning more about TuneCore Music Publishing Administration?  See what services we provide to our songwriters.)