So music publishing, real simple, is the exploitation of a song's copyright or song's copyrights. Right. When compositions are exploited, exploited, not in the dirty sense of the word, but just like consumed, listened to.

There are financial transactions behind those usages and songwriters get paid for that. Now, we talked about songs being, you know, copyright law, protecting them. Well, what is copyrightable and it's lyrics and it's melody, Chord progression is not copyrightable.

Think about 12 bar blues. There's like millions of songs of 12 bar blues. If chord progressions were copyrightable, guess what? There would be one version of 12 Bar Blues.

Unless of course, it goes into public domain, then there could be a million and more. So lyrics and melody are copyrightable. Is everyone familiar with the concept that there's a publisher share and a writer's share? Does anyone not understand this? Let's do that.

Raise your hand and I'm not calling you out. Chris, you don't. Okay, cool.

So every song, there are no exceptions to this rule. Every song has a writer share and a publisher share and they are always equal. No song will ever have like 75% writer share and they're 25%.

Each song is 100% writer share and has 100% publisher share. So by virtue of that. Right, but we can talk about songs in the context of a 200% basis because you have 100 writer share and 100 publisher share.

But then we also discuss songs in 100 basis and usually that is when we're talking about splits. Oh, you know, there were four people in the room, they started it from scratch. Everybody more or less contributed the same amount.

We're just going to call it 25% even, which is on 100 basis. Right. So this writer share and publisher share is a huge.

Like there's so much of the rest of this presentation that's going to go back to this concept. We already talked about that first point. We talked about the second point.

We talked about the third point. So how are song splits determined? I'm going to open this one up. Who has an idea how song splits are determined? We already talked about one way with the even split, but there's a few different ways.

Anyone take a shot between being the artist and publishing culture happens? Absolutely. In theory, every split scenario is going to have to require agreement by all parties. Right.

So there's the most common way, and I will call this the Nashville, the European, the traditional. It's not like some formal. That's just how I refer to.

I think that's like more of its roots. But it's, you know, two people, three people, four people, sit down, start a song, finish a song, split it evenly, call it a day. Right.

Then hip hop came along. Right? Right. People started making tracks, shopping tracks.

So then they start shopping tracks and you produce it in the room by yourself, the producer. And then they send it out on bpac. Artist picks a track and says, oh, I'm going to jump on that.

I like it. And the artist writes their own bars and now they own it. 50, 50, just the producer delivered the track.

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