This another in a series of posts from the Radiostar Songwriters Workshop at Tom Lee Music on September 14, 2008.

The biggest star on the resume of John Alexander is the discovery of Alanis Morissette. He met her when she was 14 and said she was so ready to pursue a career, that “there was nothing I could do but sign her to a recording and publishing deal.”

It was at a meeting in NY, after 2 semi successful dance albums in Canada, that Alanis said to John that she didnt want to sing other people’s thoughts an ideas anymore. John put her together with Glen Ballard and Jagged Little Pill was the result.

Currently he’s the Senior Vice President / Creative Affairs, Membership US for ASCAP.

What is a music publisher?

Can advance you money for your work, ie you have songs on hold for Aerosmith, tv etc. They can get you money for work that’s forthcoming.

They can also exploit your songs. In this sense, exploitation is a good thing.

Get them to people who are recording, get them on film/tv, get them in commercials – the creative side of publishing.

They collect the monies due to you as a songwriter and protect the rights of the songwriter.

When do you need a publisher?

You can do your taxes on your own if you just have a T4. If you have multiple levels of income and investment – you get an accountant.

If you only have 1 song, you can do it on your own. If you start to become very active and have songs in different mediums, and all over – then you need to seek out a publisher, or self-publish your music.

The answer is simple: when you have activity.

Getting a publishing deal can be difficult, but you the tools are available to get more exposure for your music to make yourself a more valuable investment. You need to become successful first it seems, but that’s almost the truth. John is working with an 18yr old artist and the company said “what’s her platform” before signing her. In other words, is she on American Idol, got talent etc. A&R / Marketing people expect someone else to do the work for you.

Myspace/Facebook/YouTube etc all help you get the deal

Sources of income from a publishing deal?

• performance
  (i was grabbing a water for John and missed this section)

• mechanicals
  royalties from the sales of an album, so much per song per side
  9.1 cents / song – full statutory rate
  (if you have a million selling single, you generate $90k, if you sell 1M albums with 10 songs on a disc it can equal $910k)

• synchronization
  it’s simple, and complicated. if you take your song and turn it into an audio/visual work. be it on tv, film, commercials etc.. there is a synchronization fee (sync fee) that’s paid to the publisher. these fees are ‘whatever the market will bear’ .. using a Beatles song in a movie will cost more than Joe on the corner. you can negotiate them as complete buyouts, or limited use in region or time, you can get rollovers (there is no such thing as a standard contract)

• print
  when people buy sheet music, or you get your song lyrics published
  educational institutions, karaoke, marching bands, orchestras, greeting cards

• digital
  itunes, myspace, youtube
  a current problem spot for the industry and things are getting bogged down
  every revolution goes through phases (industrial, technical)
  1. chaos 2. establishing rules 3. calm
  we’re in the beginning of phase 2

How do you find who needs songs?

In Canada, there isn’t a set way to find out who’s needing music – they just rely on relationships with managers.

New on the Charts – a list of who’s in the studio, who’s recording, who is looking for music.

WhosLooking.com – Who’s looking, who needs, and how to submit. The thing is, it costs money $4500 a yr

How do you get unsolicited music noticed?

You can call the labels directly. Don’t go for the heads, go for the junior reps and try to build relationships.

Network network network. Go to clubs and talk to bands / managers, go to CMW and meet everyone.

It’s not that difficult, it’s just incumbent upon you to present yourself as a professional songwriter.

What about copyright?

There are two things about copyright: having it, and protecting it.

Copyright is: as soon as you’ve created a work you’ve got copyright. But, if you’re a member of SOCAN register it so that they will track your music to make sure you get paid. The Song Vault acts as a date and time stamp for when the song was created. (mailing it to yourself doesn’t hold up in court)

It can come up with unsolicited material. If you send it someone, they can hand it off to someone else to record. Using the Song Vault is a way to protect your music worldwide.

How do you start a publishing company?

Pick a name. The publishers have a list of all the ones that have been taken. So you submit 5 different names to make sure yours hasn’t been taken.
You need to join (in Canada) SOCAN.
Here you’ll need some help. Are you going to be a serious or professional songwriter? You’ll need a business license. Corporation, sole propreitorship, etc.
Open a business bank account.
Contact a mechanical rights organization (CMMRA). SOCAN covers performances, this one covers the other side.

The benefits:
If you have activity, you’re going to get paid and get paid directly, you dont have to share.
Can have friends join the group and you can start to earn money off other people as well. Build a roster and you never know what might happen.

How do you pitch for tv and film?

Get in hold with Music Supervisors. You can do this at imdb.com, look up the crew for tv shows, movies etc. Contact info for the Music Supervisors will be there and you can find out if they’re looking for songs.

In Vancouver you can also get in touch with the CBC, Sam Feldman Organization or other independents.

You don’t need a publisher before you pitch, but if they want to use your music then it’s a bridge you’ll have to cross. None of these deals are standards, there’s always something to be leveraged or negotiated.

Find out what they’re looking for before you pitch. They’ll be able to tell you exactly. The last thing that goes in to a production is the music, they know the scene and what they need. So only pitch what they need.

John cited a book that has a wealth of information: Music, Money and Success 6th Ed. – Jeffrey and Todd Brabec The book has become the Bible of anyone who wants to know about the business of the music business.

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Tags: 95crave, community, insight, music