|Gospel Music Magazines
|BQ News Room
Performing Rights Organizations
Collects license fees on behalf of songwriters, composers, and
music publishers and distributes them as royalties to those
members whose works have been performed
Broadcast Music, Inc.
American Society of Composers, Authors and Publishers
Society of European Stage Authors and Composers
|Other Christian Sites
2) HuffPost Religion
4) About.com Religion
5) Biblos.com Sites
6) Salem Web Network
7) Christian Headlines
8) Beliefnet Network
9) One News Now
|The top 10 Christian
websites for religion and
Richmond Christian Education Examiner
|More Gospel Radio
|More Quartet Radio
Designed for you to enjoy great messages,
the best Indie Artist in the world, inspirational
talk, and informational shows to promote
positive change in your life.
|Gloryland Gospel Quartet Radio
Gloryland Gospel Quartet Radio Broadcast
was the 1st all gospel quartet Netcast
program in the history of the Internet.
Playing Great Gospel Music
Traditional Style - Mostly Quartets
Bringing you talk shows, prayer ministries, various
gospel shows, Churches and individual Men and
Women of God ministering.
Gospel USA Magazine
Gospel USA Magazine is a nationally-distributed,
bi-monthly, Gospel music & news magazine, currently in
its 16th year of publishing.
|Music By Endurance
Listen to the best in gospel music 24/7.
Indie, traditional gospel, inspirational and
quartet on Live 365 Music by Endurance
internet radio station.
|Krazy Faith Radio 106.5fm
Urban Inspirational programming from
the Central Connecticut region.
East Hartford, CT
|Malaco Gospel Radio
The Malaco Music Group houses the largest
and the oldest catalog in the world. Over 150
years of great Gospel, featuring Choirs,
Quartets, Groups & Soloists.
Spiritual Vibes Gospel Music Magazine is a
Caribbean-based publication. It is geared towards and
mainly focused on Caribbean gospel music artist who
are excelling in their home land and around the world.
Magazine with stories about celebrities, sections about
new gospel CDs and record sales charts, columns
about health, dating, and family issues.
The Gospel Music Industry Roundup is the bible of the
gospel music industry. Everything you need to know
about the gospel music industry.
Gospel Depot .org
"Everything under the Son"
|PANDORA QUARTET RADIO
heart of Traditional Black Gospel Music.
The term "quartet" refers, of course, to a
style of singing rather than the actual
number of singers.
|Christian News Feed
|Gospel Music Videos
|Indie Artist Consultants
INDIE ARTIST TIP
|MUSIC BUSINESS BOOKS
1) An administrative agreement:
Takes place between a songwriter/publisher and an
independent administrator, or between a writer/publisher and
another music publisher. In an "admin deal," the songwriter
self-publishes and merely licenses songs to the music
publisher for a term of years and for an agreed royalty split.
The music publisher simply administers and exploits the
copyrights for another publisher/copyright owner. Under this
coveted arrangement, ownership of the copyright is usually
not transferred to the administrator. Instead, the music
publisher gets 10-20% of the gross royalties received from
administering and exploiting the songs for a certain period of
time and for a certain territory.
2) Collection Agreement:
A collection agreement is like an admin deal where the writer
retains the copyrights, except that the publisher does not
perform exploitation functions; like an accountant or business
manager, it merely collects and disburses available royalty
3) Co-publishing Agreement ("Co-pub"):
The co-publishing ("co-pub") deal is perhaps the most
common publishing agreement. The songwriter and the
music publisher are "co-owners" of the copyrights in the
musical compositions. The writer becomes the "co-publisher"
with the music publisher based on an agreed split of the
royalties. The song writer assigns an agreed percentage to
the publisher, usually a 50/50 split. Thus, the writer conveys
of the publisher's share to the publisher, but retains writer’s
entire share. In a typical "75/25 co-pub deal," the writer gets
100% of the song writer’s share, and 50% of the publisher’s
share, or 75% of the entire copyrights, with the remaining
25% going to the publisher. Thus, when royalties are due
and payable, the writer/co-publisher will receive 75% of the
income, while the publisher will retain 25%.
4) Exclusive Song Writer Agreement:
Under the ESWA or "staff writer" contract, the song writer
generally grants the publisher’s entire share of the income to
the music publisher. The writer’s services are exclusive to the
music publishers for a specified period of time. Thus, any
compositions written within that period belong to the music
publisher. These deals are usually offered to writers with
some degree of success. Because the writer has a track
record of writing hits, the publisher feels confident that it will
recoup its investment. In return for signing away exclusive
rights to some or the entire writer’s songs, the writer gets
paid by the publisher a negotiated advance against future
royalties. The advance amount naturally depends on the
writer’s bargaining power and on the competition in
marketplace, if any. Under a staff writer deal, the writer is
paid on a weekly or quarterly basis. An ESWA can be either
tied to a record contract, or independent of a record contract.
5) Purchase Agreement:
One music publisher acquires in whole or in part the catalog
of another music publisher.
6) Single Song Agreement:
A single song deal is an agreement between the writer and
the music publisher in which the writer grants certain rights to
a publisher for one or more songs. In single song deals, the
writer is paid a one-time re-coup able advance.
This type of deal is for situations where the songwriter is not
yet signed to a record deal, but may later enter into a record
deal. The contract here will provide, in effect, that the deal
will be the “Traditional” deal mentioned above, but will
automatically transform into a Co-Publishing deal if and when
the songwriter is signed to a record deal.
7) Sub-publishing Agreement:
These are basically music publishing deals in foreign
territories between a US publisher and a publisher in a
foreign territory. They are like admin or collection deals (with
no ownership of the copyrights being transferred to the sub
publisher), but limited to one or more countries outside the
US. Under this publishing deal, the publisher allows the sub
publisher to act on its behalf in certain foreign territories.
Often, they are limited to a group of countries, such as
European Union (EU), GAS (Germany, Austria, and
Switzerland), Latin America, etc.
8) Foreign Sub publishing Agreements:
Is similar to an administration agreement. The only difference
is that the publisher is contracting with another publisher in a
foreign country to represent its catalogue in that territory. For
example, if a U.S. publisher wants to have a publisher in
England represent its catalog in the United Kingdom, or if a
publisher in France wants its catalog represented in the
United States by an American publisher, the agreement is
referred to as a sub publishing agreement. As with the
administration agreement, representation is limited to a
specified duration (usually not less than 3 years), and the
fees retained by the foreign sub publisher for its services are
negotiable within certain limits.
Once there is knowledge it creates a path for in moving in the
right direction which makes the vision and goals much easier
to see and obtain.
|There are 8 types of music publishing contracts
|Indie Artist Survival Handbook
|It's All About The Business
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