Topgun Music

Under Which Name Should I Register My Works with publisher?

You must use your legal name.
Music Publishing operates using your full legal name. You can add your artist/performer name afterwards in the 'recording information' section, however, you should not register your works under your artist/performer name.

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Resolving Disputes Between Authors in Performing Rights Organizations

Conflicts over the distribution of copyright shares are common in the music industry. Today, we'll explore how these situations are resolved in performing rights organizations (PROs) with the assistance of publishing administrators.

Disputes between co-authors of compositions can arise from misunderstandings, unintentional actions, or more serious issues. When conflicts occur, PROs typically remain neutral and don't take sides.

A dispute between authors arises when the sum of their claimed shares for a particular composition exceeds 100%. This is known as "share overlap."

When a dispute is detected, royalties for the contested composition are put on hold. The PRO notifies all involved parties, including the copyright administrator (such as Topgunmusic Corp), of the need to resolve the situation independently.

Topgunmusic Corp assists their clients in such disputes and conducts an initial assessment of the validity of the claims. If new claims appear legitimate, they inform the PRO.

Once the authors reach an agreement on the distribution of shares, Topgunmusic Corp communicates the agreed-upon data to the PRO. This allows the hold to be lifted and royalty payments to resume.

Key points:

- PROs don't intervene or act as arbitrators in disputes
- Disputes must be resolved by the authors themselves, with publishers acting as mediators
- Royalties are withheld until the parties reach an agreement
- Publishers assess the legitimacy of claimed shares

Resolving disputes regarding copyright shares is a crucial aspect of the work done by music publishers and rights administrators like Topgunmusic Corp. Their role in facilitating these resolutions ensures that artists receive their fair share of royalties and helps maintain harmony in the collaborative world of music creation.

Collect all the royalties due to you with TopGunMusic Corp as your partner.
Submit your application: https://pushyourmusic.com/

What If I Have Multiple Artist Names and One Writer?

Music publishers register songs using the full legal name of their client songwriter, not the recording artists themselves. The performer details are included in a song’s metadata once you add its recording information (ISRC) within your account.

We can advise you music strategy through our consultancy services.

Collect all the royalties due to you with TopGunMusic Corp as your partner.
Submit your application: https://pushyourmusic.com/contact

Do I need to sign a contract with Topgunmusic Corp as a publisher if I am already a member of Performing Rights Organization (PRO)?

Topgunmusic Corp does not replace your Performing Rights Organization (PRO). We help you manage your current PRO catalog and make sure you receive all the performance and mechanical royalties. When you join Topgunmusic Corp, we register your songs at global PROs to collect performance royalties directly.

Joining Topgunmusic Corp also gives you the ability to collect mechanical royalties that are not collected by PROs. Mechanical royalties are generated from physical sales and interactive streams (Spotify, Apple Music).

Topgun Music client: Sunbios

Sunbios is an electronic project of Ira Ange и Denis Kulikov, symbiosis of two artists, live vocals and techno rhythms, yin and yang. Guys release their tracks on Bonzai Progressive, Beatfreak Recordings, Orbita Project.

Within first year of their career, they performed live vocal sets in such top places as Café Del Mar Phuket, Bermudos Phuket, Gazgolder Moscow, Purpur Afterparty, Breaking Bad Bar Sochi, Center Club etc.

What does a publisher do and how is it different from a copyright society, since at first glance they both seem to be involved in collecting royalties?

A publisher is necessary to obtain the publisher's share of author royalties and in most countries, the publisher, like the author, is itself a member of the copyright society. The copyright society ensures the collection of author royalties (the author's share and the publisher's share) and distributes it in a certain proportion between the author and publisher. The distribution ratios between the author and publisher in most countries vary and depend on the type of use. For example, in the Netherlands, the distribution of public performance income is split between the author and publisher in a 66.66% to 33.33% proportion.

Topgun Music client: Polyptych

Polyptych World is music label. Supported by Pete Tong, Joris Voorn, ARTBAT, Bebetta, Blond:ish, Damien Lazarus, Guy Mantzur, Acid Pauli, Petar Dundov, Solid Stone, Armen Miran, Fideles, Red Axes, Tripswitch, Rick Pier O'Neil, Nick Muir, Upercent, Doctor Dru, Adam K, Be Svendsen, and many others.

At Topgun Music, we're dedicated to providing top-tier publishing solutions and bolstering your royalty collections from every corner of the globe.

For more information on how we can support your music journey, feel free to reach out to me directly or explore our services at: https://topgunmusic.art/

What is an IPI number?

IPI is a nine-digit number assigned by a performing rights organization to songwriters and publishers to identify them as rights holders. Each songwriter and/or publisher in the world is assigned one unique IPI number by a performing rights organization. In order for a songwriter to collect his or her performance royalties for that song, he or she needs to be registered with the performing rights organization.

Topgun Music client: Goom Gum

Goom Gum is a duo of DJs and producers created in 2018.
Their tracks were supported in sets by the top figures of the world electronic music scene, such as Solomun, Tale Of Us, Dubfire, Diplo, Pete Tong, CamelPhat and many others.

Why important to register songs with two types of rights management societies: performance rights organizations (PROs) like BUMA, PRS, ASCAP, BMI, GEMA and neighboring rights organizations like PPL, GVL, Soundexchange?

Performance rights organizations (PROs) collect royalties for the public performance of musical works in public spaces like cafes, parks, cinemas; as well as broadcast on radio, TV, and live performances. To receive these royalties, the author must become a member of one of these PROs.

Neighboring rights organizations collect licensing fees from radio stations, TV channels, public spaces (restaurants, bars, etc.), concert halls, etc.

It may seem confusing at first, since PROs already collect royalties for public performance. But the difference is that PROs collect royalties for the public performance of the musical composition, while neighboring rights organizations collect royalties for the public performance of the sound recording (phonogram).

If an artist is NOT registered with either type of organization as the author, performer, and/or rights owner of the recording, they miss out on potential income.

Topgun Music client: Fake Mood

Fake Mood is an electronic music duo from St. Petersburg, Russia. Viktor Petrov & Dmitry Kokhan united in 2015 to create their very own sound on a contemporary dance music scene.

Fake Mood is an electronic music duo from St. Petersburg, Russia. Viktor Petrov & Dmitry Kokhan united in 2015 to create their very own sound on a contemporary dance music scene.

Their style vary from charming electronica, shrouded with ethnic elements and surreal sound textures, to more dancefloor-oriented grooves, but the keypoint of their production is aesthetics and quality. Fake Mood working closely with top vocalists like Jinadu, Lazarusman, Aquarius Heaven and Shawni.

After a short period of work Fake Mood tunes are played by Solomun, Kollektiv Surmstrasse, Trikk, Serge Devant, Thyladomid & Karmon, Oliver Schories, Upercent, Florian Kruse, Djuma Soundsystem, MoBlack, Hraach, Armen Miran, Kora all around the world, from Ibiza & Tomorrowland to sandy shores of Black Rock Desert, and music is released and forthcoming on Get Physical Music, Exploited Ghetto, Time Has Changed, Crossfrontier Audio, Earthly Delights, Audiomatique.

Demystifying Music Publishing Deals for Songwriters

When you sign a publishing agreement as a songwriter, you're granting the publisher 100% of both the copyright and royalty collection rights to your songs. This excludes public performance royalties, which the writer still collects their split of.

The publisher is then responsible for registering your songs, collecting all royalties, and administering the copyrights. They'll typically split the revenue from your catalog 50/50 with you as the songwriter.

However, if the publisher gives you an upfront advance, that advance will be recouped from your 50% royalty share before you start seeing any payments. Until the advance is fully paid back, you'll only receive periodic statements showing the recoupment status, not actual royalty payments.

For instance, mechanical royalties won't be distributed to you as the songwriter until after the advance is recouped in full. The statements will indicate your current advance balance against accumulating royalties so you can track the recoupment progress.

The key is understanding that the advance comes out of your future income, so you want to ensure the advance amount is fair and recoupable based on realistic projections for your catalog's earnings.

Topgun Music client: DIBIDABO

DIBIDABO creates a variety and depth of a genre, achieving an interlacing of melodies, ethno rhythms and a strong groove. His music is the experiment with sound and finding the right energy. Mixing electronic and ethnic music to create a deep mood, exciting and magical atmosphere, an atmosphere of celebration.
The project is a musician from St. Petersburg, with a big musical experience before. With its own style and original sound.

Collecting International Royalties for Your Music - A Guide

For musicians distributing music globally, understanding international royalty collection is vital to getting paid. Here's an overview of how it works:

- Most developed countries have collection societies for mechanical royalties, either standalone or combined with performance royalties. For example, France uses SACEM for both.

- In the US and Canada, physical and downloads have a fixed "penny rate" - currently 9.1 cents per copy. Europe uses a percentage of the published price to dealers - around 8.7% now.

- For streaming, rates vary but are usually paid via a "blanket" license. Services pay a percentage of revenue to the local mechanical society, which distributes payments. This is similar to the US MMA's Mechanical Licensing Collective (MLC) model.

- To collect abroad, you need either direct affiliation in each country or sub-publishers. Sub-publishers offer services in their regions for 10-20% commission, while maintaining your copyright ownership. Creative licensing can yield higher income shares.

- If your song becomes a hit overseas, register it with performance and mechanical societies to claim royalties. Incomplete registration means earnings go into an "unclaimed black box." You typically have a 3 year window to claim these mechanical royalties.

The bottom line - having a strategy for international collections is crucial to getting all the royalties you're owed globally on your music. Understanding the landscape in each region is the first step.

Topgun Music client: Anturage

Electronic musical project of Victor Petrov. It’s signature “groove” sound – the interweaving of house with techno, resonates with many connoisseurs of electronic music.

Behind Anturage are dozens of cities with tours throughout Russia and abroad.
Anturage has released releases on top European labels: Global Underground, Traum, Kittball, Definition: Music, Heinz, Audiomatique. Anturage tracks regularly appear on the charts of reputable online electronic music stores and have already managed to get support from such artists as Solomun, Nick Warren, Tube & Berger, Steve Bug, Florian Kruse, Kiko, Citizen Kain, Marcus Meinhardt, and many others.

Streaming Mechanical Royalties Explained for Musicians

On-demand streaming services like Spotify allow listeners to pick the specific songs they want to hear. This type of interactive streaming is licensed and paid for primarily by the streaming platforms themselves.

For artists and songwriters, these on-demand streams provide fractional royalty payments that cover two types of royalties - public performance and mechanical. The mechanical royalty compensates the songwriter when their composition is reproduced and distributed.

When crunching the numbers, streaming mechanical royalties typically amount to around $0.0006 per individual stream. This equals approximately $0.06 per 100 on-demand streams.

To understand how this breaks down:

- The average total royalty payment per stream on Spotify is roughly $0.005, split between the sound recording and composition.

- Of this, the sound recording receives approximately $0.0038 per stream.

- The remaining $0.0012 goes to the song composition, which is then divided into performance and mechanical royalties.

So based on these rates, a songwriter would need about 1.6 million on-demand streams on Spotify to earn $1,000 in streaming mechanical royalties.

While the per-stream royalty appears small, these micro-payments can add up over time, especially for frequently streamed songs. Maximizing streams and releases is key for songwriters looking to boost their streaming mechanical earnings.

Our royalty statements are getting a new look!

Our new clients: Rasster, Aiwaska, KINKY SOUND, Brosso, Zeskullz and more.

Starting this year, we have increased the entry threshold for working with Topgun Music
- the minimum number of plays must be 100,000 streams
- or, over the past year, your track has been played in rotation on the world's largest radio stations, such as the BBC, SiriusXM and others
- or you come on the recommendation of an existing client

Topgun Music client: ZESKULLZ

The Project is aimed at the Europe and USA markets. Many Zeskullz tracks have topped the charts across Global Radio.

We have had great news on our latest track "Submarine" by ZESKULLZ which was featured on USA Network's series "Queen of the South" in Ep. 11 - "Punto Sin Retorno". I'm so excited to be working alongside music maestro Giorgio Moroder.

Released their tracks on the biggest world's Record Labels: Universal Music, Dim Mak Records (USA), Mad Decent (USA), Armada Music (NL) and more.

Topgun Music client: Brosso
Resident of the labels: Bar 25, Ritual, Reload and etc

Topgun Music client: Rasster
Resident of the labels: Spinnin Records, Universal Music, Warner Music. Platinum Artist 💿 200.000.000 Streams on Spotify

Topgun Music client: Kinky Sound

Resident of the labels: Ritual, Bunny Tiger, Ritter Butzke Records and more

Topgun Music client: Aiwaska

Aiwaska is the project from the mysterious producer with more than 20 years musical background. He has a hypnotic and spiritual sound, with organic chop elements. A perfect blend of Melodic House rhythm, with atmospheric bass lines & hypnotic vocals. Aiwaska is the project from the mysterious producer with more than 20 years musical background. He has a hypnotic and spiritual sound, with organic chop elements. A perfect blend of Melodic House rhythm, with atmospheric bass lines & hypnotic vocals.

His production expertise has seen him deliver releases for such esteemed dance music imprints as Exploited, Crosstown Rebels, Bar 25 Music and House Music With Love. It’s also bought him to collaborate with a whole host of legendary vocalists, such as Robert Owens, Roland Clark, Egyptian Lover, and Aquarius Heaven. He’s been asked to deliver his unique style also to remixes for many dance music aficionados like Patrice Baumel, Eelke Kleijn, Jenia Tarsol & Kino Todo, Audiofly, Tensnake, Dj Assault and more. It’s this impressive back-catalogue that has seen him gather support from electronic music royalty like Solomun, Black Coffee, Damian Lazarus, Adam Port, &Me, Rampa, ARTBAT to name just a few.

Yung Lean ft. FKA twigs - "Bliss"
Glad to see this song in catalogue of own publishing company
We administrate part of publishing rights on this song!

Yung Lean ft. FKA twigs - Bliss (Official Video) 'Stardust' out April 8th: https://lnk.to/yl-stardustSign Up for Stardust Tour: https://bit.ly/yl-tourProduction Company: Object & Animal ...

The Composition and the Recording

Every song is divided into the composition and the recording. The composition is the original idea of the song put in some tangible form. It could be a simple recording you make with your smartphone, or the lyrics and chords of the song written out on paper.

Once you’ve captured or recorded a song — whether on paper or in an audio file — you are considered its rightsholder by default. There are quite a few reasons to register your song with your home copyright office, however.

The other type of copyright every song has is the recording. It refers to a specific recording of a song for release. While there can only be one composition, a song can have multiple recordings (e.g., live versions, alternate takes, or covers of your song by other artists) and grant you multiple recording copyrights.

As the originator of a song, songwriters and their publishers generally hold performance and mechanical publishing rights, referred to collectively as “publishing” or “composition” royalties. Mechanical royalties are generated whenever your song is reproduced in any form, whether it’s a physical format like a CD or LP, a digital download, or an on-demand stream (e.g., Apple Music or Spotify).

Performance royalties are generated anytime your song is performed publicly, including live shows, radio broadcasts, and speakers at a restaurant or retail store. On-demand streaming earns performance and mechanical royalties, as it’s considered both a performance and a reproduction. Performance royalties are collected and paid out by your Performing Rights Organization (PRO) or Collective Management Organization (CMO).

Whoever controls the recording — whether it’s a recording artist self-releasing their work or a proper label — contracts a distributor to get the music into digital stores and services - as well as to collect recording side royalties for streaming and digital downloads. Artists and labels will also be paid for physical copies sold, whether it’s directly through their website, on tour at a merch table, or via a distributor who sells and ships physical copies to retailers.

Another oft-misunderstood royalty is owed to recording rights owners: digital performance royalties (similar to neighbouring rights outside of the U.S.). These royalties are paid to the recording owner and recording artist (not the publisher or songwriter), and are earned whenever it is played on a non-interactive streaming service like Pandora, or streaming or satellite radio. In the U.S., these royalties are collected by SoundExchange; outside of the U.S., many organizations collect and distribute neighbouring rights royalties.

Our royalty statements are getting a new look!

Our clients: The Organism, Roman Messer, FREE FLOW FLAVA, RELANIUM, Anton Kubikov, Indifferent Guy, Interplay Records, NOPASSPORT, Morttagua, Timeless Moment, Jasted, Rezone, Intricate Records, Wool Music, Katrin Souza and many more.

Join Topgun Music: https://topgunmusic.art/

Topgun Music client: Anton Kubikov

Anton Kubikov aka Juras Lietus. His music had over 90 releases on vinyl labels such as Kompakt, Force Tracks, Trapez, Salo, MAYAK, Pro-tez, Traum and Freizeitglauben with project Scsi-9 and under his name.

Topgun Music client: Relanium

Topgun Music client: The Organism

Topgun Music client: Free Flow Flava