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Q: Where can I find more information about Sony Music?
Sony Music has offices in over 40 countries around the world. Its global headquarters are located at 25 Madison Ave, New York, New York.
For a list of contact numbers for Sony Music offices around the world, please visit our Contacts page.
A list of many of the labels in the Sony Music family and links to their sites can be found at our Labels page.
Sony Music and its employees do not accept, or consider, unsolicited sound recordings, musical compositions or any other creative materials.
For one of Sony Music’s labels or creative centers to review a demo, it must come recommended through an established music industry professional, such as a manager, lawyer, agent, producer, artist, programmer, or tastemaker. We suggest you consult with one or more of these professionals for more information.
Please note that if, despite our policy, you submit unsolicited material to us, then Sony Music has no obligation, and shall not be liable to you, or to any person claiming through you, based on such submission.
To view our current job openings, apply for positions online, and find out more about applying for positions with Sony Music, please visit our Careers page.
Sony Music offers a limited number of internships for college students during the fall, spring and summer semesters. For additional information, please visit our Careers page.
For answers to questions about artist or producer royalties, including how to read your royalty statement, request accounting, and update your mailing and payee information please visit the Artist Portal.
For answers to similar questions concerning mechanical royalty payments, please click here.
Media questions about Sony Music artists should be directed to the publicity department of the label to which the artist is signed.
Columbia Records: [email protected]
RCA Records: [email protected]
Epic Records: [email protected]
Sony Music Nashville: [email protected]
Sony Music Latin: [email protected]
Sony Music Masterworks: [email protected]
Legacy Recordings: [email protected]
Learn more about Sony Music’s record labels here.
If you would like to license master recording rights from a Sony Music artist, please click here.
Click here for more information on the company, or visit our Executives page to learn more about Sony Music leadership.
If you write your own songs, either with a band or on your own, or co-write with others, developing an understanding of music publishing is probably the most important thing you can do for your career.
That being said, music publishing is the most confusing aspect of the music business. The number of blank stares that return my gaze after I explain music publishing to a fellow musician is countless, and perhaps warranted. This stuff is complex.
I’ve put this blog together to help reduce the confusion.
Music Publishing Revenue
In every song, music publishing revenue and ownership is divided into two halves: the Publisher’s Share and the Writer’s Share, as per above.
The circle as a whole represents the total music publishing ‘pie’ in a single song. The Writer’s Share always belongs to you, the writer, and it can never be assigned or sold. If you never sign a music publishing deal of any kind, you will retain 100% of the music publishing revenue and ownership in your songs, meaning you will own the full pie.
If you sign a music publishing agreement, you give up part of the Publisher’s Share, or the left half of the pie. Let’s look at how that might happen.
The 3 main types of music publishing agreements are:
1) Publishing Administration Agreement
Often artists want to retain ownership in their music publishing, but hire a third party to exploit their catalogue of songs (through film/tv placements, etc.). A music publishing administrator also helps ensure that the correct amount of music publishing revenue from your catalog of songs is being paid and collected around the world. You’d be surprised how many commercials and films and video games use music and fail to pay the writers of the music.
This is where an administrator can be your best friend, by ensuring your songs are generating the most music publishing revenue possible around the world.
If you sign a Pub Admin deal, the administrator does not acquire ownership in the copyrights in your songs, but administers them for a fee (ranging from 10-25%). You as writer give up a percentage of your music publishing revenue, with the hope that the administrator will help your songs generate more revenue to offset the fee. In the diagram below I’ve illustrated a 20% pub admin deal. The 20% only applies to the Publisher’s Share (the Writer’s Share is untouchable), so that’s 20% of 50%, or 10% of the overall publishing revenues generated by the Artist’s songs. The Artist retains full ownership of the full pie, but gives up 10% of the total music publishing revenue to the Pub Admin company.
2) Co-Publishing Agreement
The Co-Pub deal is the norm in the business today. The music publisher and the writer co-own the copyrights in the musical works and the music publisher administers the copyrights in the works.
This is a deeper commitment than the Admin Deal, as the term is often longer…often equal to the life of the copyrights (which equals the life of the author plus 50 years!). In exchange for this deepened commitment, a music publishing advance for the Artist is normal. The standard Co-Pub deal involves half of the Publisher’s Share going to the Publisher, meaning we’re left with a 75/25 split in favor of the Artist (i.e. 50% of the Publisher’s Share half is given away, or 25% overall):
3) Buy-Out Agreement or a “Full” Publishing Agreement
Buy Out deals are not as common today as they were in the past, and are typically seen when a significant advance is being offered for the Writer’s catalogue. The Publisher owns 100% of the copyrights in the musical works and has sole administration rights. The overall split of music publishing revenue is 50/50, as the Writer is left only with the Writer’ Share of music publishing revenues from performances.
What Does a Music Publisher Do?
Generally speaking, music publishers administer, promote, exploit and protect your catalogue of songs throughout the world. The two key revenue streams for music publishers are mechanical royalties (royalties from the ‘mechanical’ reproduction of the songs) and performance royalties (royalties earned from the public performance of the songs).
Any time you hear a song on the radio, at the grocery store, at a hockey game, or on a video game, music publishing revenue is being generated and collected (in theory) by a publisher on behalf of an artist.
Until the 20th Century, a music publisher’s main function was administrating printed music in all its forms. However, as 20th Century technology extended the use of music, so the responsibilities of publishers similarly widened to include the licensing of music on records, radio, television, films, concerts and, more recently, tapes, compact discs, satellite and cable distribution, karaoke, video games, computer software, CD-ROMs and other forms of multimedia, etc.
Publishers may also actively ‘pitch’ songs to other artists to record, or ‘plug’ songs to radio, tv/film, and other users.
What is Sub-Publishing?
Once you’ve signed with a music publisher, they will often hire other publishers in other countries to help exploit your songs and collect the revenues around the world. These other publishers are called Sub-Publishers. Often times your publisher will have pre-existing agreements with sub-pubs in every territory in the world.
The advantages of sub-publishing are obvious: the foreign publisher, ideally, has the necessary contacts to expose works in that territory and the administrative skills to collect subsequent royalties. Securing covers is part of the job, but having a sub-publisher ensures proper registration, licensing and documentation of a catalogue. Also, a sub-publisher can, through membership in local mechanical and performing rights societies, collect and distribute income generated by an original recording.
Of course, major publishers with offices in many territories don’t usually require sub publishers.
Conclusion
The question remains: should you sign a music publishing deal? There is not a simple answer. I’ve seen more and more artists moving away from the confines of Pub and Co-Pub deals, and opting instead for the freedom of Pub Admin deals. The advances are often lower, but the flexibility and independence are appealing.
So the answer really depends on the reputation of the publisher involved, the current state of your career, the offer on the table, etc. Along with choosing a manager and record label, choosing a music publisher is one of the big three decisions you’ll make in your career. In other words: a decision not to be taken lightly! Call me with questions, and I’ll be happy to help.
The agreement with the First Music Publishing House covers the entire Mail.
ru Group
The First Music Publishing House (PMI), which, according to its own assessment, occupies about a quarter of the market copyright and related rights to Russian music, agreed with VKontakte to legalize content on the social network. This was stated by PMI co-founder Maxim Dmitriev at a press conference dedicated to the creation of the National Register of Intellectual Property. He did not disclose the details of the deal, saying only that the contract was signed for a year and implies a further extension.
The agreement applies to all social networks included in the Mail.ru Group - "Vkontakte", "Odnoklassniki" and "My World", say two people close to the parties to the transaction. "VKontakte" will pay PMI minimum guarantee payments for the use of the music catalog, and it is also expected to share income from the sale of music, says one of Vedomosti's interlocutors.
A representative of Mail.ru Group confirmed the agreement with PMI, but declined to discuss the details of the deal.
A contract with PMI could cost Mail.ru Group about $2 million, a top manager of a major music company estimates. Of these, about $1 million is the cost of Sony ATV content, with which PMI has an agreement. Sony ATV is the world's largest music publisher, Vedomosti's interlocutor explains.
Oleg Butenko's United Music Agency (UMA) conducts negotiations with copyright holders on behalf of Mail.ru Group. In particular, UMA is trying to negotiate the legalization of music with American majors, with the help of the well-known American lawyer Joel Katz, sources in Usmanov's structures told Vedomosti earlier.
Last year, UMA managed to reach an agreement with the first of the majors, Sony Music. UMA signed a contract with Sony, and in return, she withdrew all her legal claims from VKontakte (the parties have been suing since April last year). Now UMA is negotiating the legalization of music with two other Western majors - Universal Music and Warner Music. Both of these companies are also suing VKontakte over the illegal placement of their catalogs on the social network.
Now you can listen to music in Vkontakte for free, but many copyright holders accuse the social network of piracy. Last year, Vkontakte limited the ability to listen to music tracks in its mobile applications for iPhone and iPad. This comes after Apple removed these apps from the AppStore following numerous complaints from copyright holders.
VKontakte will gradually modernize its music service by introducing paid elements, a source in one of the music companies told Vedomosti earlier. On mobile devices, music will be available only on a paid subscription, and on computers, users will be able to listen to music for free, but will be required to watch ads.
What rights
PMI has been operating in Russia since 1996, its catalog contains about 40,000 pieces of music, follows from the information published on the publisher's website. PMI represents the interests of such artists as Ivan Dorn, Dima Bilan, Nyusha, Eva Polna, Stas Piekha, The Brothers Grimm, Vladimir Presnyakov, Dmitry Malikov, Chicherina, Kristina Orbakaite, Lyapis Trubetskoy and others.
Anastasia Golitsyna
Photo: Ramil Sitdikov / RIA Novosti
Vedomosti
Ryan Tedder. Photo: www.rollingstone.com
In this article, we tell five stories of famous musicians whose path to fame began by writing songs for other artists.
Sia, Ryan Tedder (OneRepublic), Lady Gaga, Bruno Mars and Jessie J are the few songwriters who have made their way into solo work as well.
At the beginning of her career, Sia wrote songs for her own repertoire in order to realize herself as a singer. She released her first album in 1997, but received worldwide fame only in 2008 - with the album "Some People Have Real Problems".
Later, Sia wrote the ballad "My Love" for the film adaptation of the third part of the Twilight series (2010) - the composition sounds in the scene where Edward gives Bella a ring.
After her worldwide recognition as a singer, Sia continued to write singles for pop artists such as Christina Aguilera, Britney Spears, Beyonce, Kylie Minogue and others. The singer's biggest hit was the single "Diamonds" performed by Rihanna in 2012 - the song topped the charts in 20 countries around the world.
During the same period, Sia co-wrote the songs "Perfume" and "Passenger", which appeared on Britney Spears' eighth studio album. Here are her other singles:
Sia also co-wrote "We Are One (Ole Ola)" by Pitbull, Jennifer Lopez and Claudy Leitte.
The song became the official anthem of the 2014 FIFA World Cup.
APRA has named Sia Songwriter of the Year and Oceania's Strongest Songwriter three times. She also received an award for the single "I Love It", written for the HillTop Hoods with her vocals.
The famous vocalist of the pop-rock band One Republic has also successfully realized himself as a songwriter. He wrote his first work at the age of 15, and began a serious writing career at 21 - hip-hop producer Timbaland invited Tedder to write singles for performers in various musical genres.
Ryan Tedder's songs were performed by Adele, Beyonce, Whitney Houston, Jennifer Lopez, Hillary Duff, James Blunt, Taylor Swift and even Russian musicians - Dima Bilan, Alsu and Tatu.
Some hits written by Tedder:
In 2007, after the release of "Bleeding Love", performed by Leona Lewis, Tedder received an award from the American Songwriters Association. Later, with the same song, he was nominated for a Grammy Award.
According to some sources, Ryan Tedder is in the top 40 songwriters of the world. His work topped the charts in the US and UK - for example, "Apologize" became the best-selling song in 10 years. And the number of songs on Ryan's resume is truly amazing.
In his interviews, Tedder says that when he founded the band in 2002, he had some interesting songwriting proposals - he could accept them and fully realize himself as a songwriter. But he wanted more - to become an artist. And thanks to his writing background, Ryan Tedder did just that.
Daria Manakova
It's amazing how you can feel the signature of songwriters in singles performed by other stars.
Due to various factors such as vocal melody construction, phrasing and lyrics, it's easy to imagine Ryan Tedder's voice on "Halo", Sia on "Diamond" and Bruno Mars on "All I Ask".
These songwriters found their zest and personality in the process of writing songs for other artists - and it is this experience that has helped them carve out a high niche in the global music scene.
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Before becoming a singer, Stefani Germanotta worked with music producer Rob Fusari, with whom she wrote several songs in 2006. Beautiful. Dirty. Rich", "Disco Heaven" and other songs entered her repertoire and were popular in clubs in New York.
Two years later, Stephanie became a staff writer for Interscope Records. Her songs were performed by Britney Spears, Pussycat Dolls, Jennifer Lopez, New Kids On The Block, Michael Bolton, Adam Labmert and others.
While working as an author, Stéphanie Germanotta created her future repertoire. At the same time, her image, pseudonym and positioning were formed. In 2009, rapper Akon noticed Steffani's vocal abilities and signed a contract with her to record an album on behalf of his own label, Kon Live Records. Thus began the career of Lady Gaga as a shocking American singer.
The singer's debut album "The Fame" was released in 2008 and blew up the world music industry. The singles "Just Dance" and "Poker Face" took the first lines of the charts in the USA, Canada, Great Britain, Germany, Australia. In the US, the album peaked at number one and two on the Billboard Top Electronic Albums and the Billboard 200, and went on to be certified triple platinum.
In 2009, "The Fame" was nominated for a Grammy Award: the album won in the category "Best Dance Recording" for the hit single "Poker Face".
A year later, at the British Brit Awards, "The Fame" was named "Best International Album".
Peter Gene Hernandens grew up in a musical family and has had a passion for music since childhood. At the age of 18, he moved to Los Angeles to realize himself as a musician and at the same time came up with the pseudonym "Bruno Mars".
Three years later, Bruno signed a contract with Atlantic Records: he worked as a songwriter for other artists and was engaged in producing. During this period he created singles for Alexandra Burke, Travis McCoy, Adam Levine, Brandy, Sean Kingston, Flow Rida and the Sugababes.
In 2010, Bruno Mars co-wrote and performed on B.o.B's "Nothin' on You" and "Billionaire" by Travis McCoy, which launched his career as a singer. In the same year, he released the mini-album "It's Better If You Don't Understand", which took 99th on the US Billboard 200. A couple of months later, his debut album, Doo-Wops & Hooligans, was released, which took second place on the Billboard 200 hit parade.
In 2009, together with Philip Lawrence and Ari Levine, Bruno Mars created the production and composition project The Smeezingtons. The label writes singles for the Sugababes, Travie McCoy, B.o.B, Brandy Norwood, K'naan, Flo Rida, Chad Hugo, Lil Eddie, Brave New World, Bad Meets Evil and Cee Lo Green. They also wrote worldwide hits such as B.o.B's "Nothin' on You" and Flo Rida's "Right Round".
Some songs of Bruno Mars:
Lil Wayne - "Bow Chicka Wow Wow" Jessica Helen Cornish wrote her first song at the age of 17: the single "Big White Room" was based on the story of a boy with whom Jessica was in the hospital six years ago. The song became popular on YouTube, with over seventy covers made.
After the bankruptcy of the label with which Cornish planned to release her album, the singer began to work as a songwriter - in 2006 a publishing contract was signed with Sony ATV. Jessica wrote singles for Chris Brown and Miley Cyrus - "Party In The U.S.A." became a hit and lasted 28 weeks on the Hot 100.
Other songs by Jessie J:
The singer has also worked with Justin Timberlake, Mary Blige, Christina Aguilera and Alicia Keys.
In 2009, Jessica signed with Lava Records and Universal Republic and released her debut single "Do It Like a Dude" a year later, which peaked at number two on the UK Singles Chart. Since then, the singer's career has been actively developing: she participated in various TV shows and concerts, at the Olympic Games, received an award Critics' Choice BRIT Awards and BBC's Sound of 2011.
Star experience shows us that the path to glory does not necessarily begin with solo work. Writing singles for other artists provides not only valuable experience for creating your own works, but also knowledge of the industry from the inside, useful contacts and projects.
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There is not a soul at school now. Even the instruments sleep. The administrator will call you back from the number 8 (812) 501 83 83 as soon as he sees your application.
