Looking for advice regarding writer/producer splits and revenue streams.

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    bradymusico
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    I always give my cowriters 50/50 splits across the board, even if I do 95% of the work. Sometimes it’s those little things they bring to the table that result in the track being sold/licensed in the first place. It’s all pie in the sky though, until the piece actually makes money. I’ve seen a lot of colleagues sweat over complex writer/pub/producer splits and many of them are sharing these complex splits of ZERO…

    Art is right though, only you can answer what “feels right”. We’re all just speaking from our own bag.

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