Co-Pub Math That's Worse Than Admin Only - Traps & Scams Every Musician Must Avoid

Congratulations. Someone offered you a publishing deal and used the words co pub to sound important. You feel flattered, and then you think about rent. Before you sign anything let us explain why a co pub deal can secretly be worse than an admin only deal. We will break down the math, expose the common scams, and give you scripts to fight like a human with bills and dignity.

This guide is written for musicians who want earnings that actually make life better. We will explain every acronym, show real numbers, walk through red flags, and give negotiation language you can use in an email or over a coffee that smells suspicious. By the end you will know when to run, when to renegotiate, and how to spot a scam a mile away.

Quick definitions you must know

• Publishing is the part of songwriting that manages and monetizes compositions. Compositions are the melodies and lyrics. Recordings are separate.
• Writer share is the percentage of writer ownership of the composition. Usually this is 50 percent if two writers split evenly.
• Publisher share is the portion of the composition owned or administered by a publisher. Standard publishing split is 50 percent publisher and 50 percent writer on many traditional deals.
• Admin only is when a company administers your copyrights for a fee but does not take ownership of your publisher share. They collect money, take a percentage fee, and send you the rest.
• Co publishing is when the publisher takes an ownership slice of the publisher share. That means they are a co owner of the song.
• PRO stands for performance rights organization. Examples are ASCAP, BMI, and SESAC in the United States. These organizations collect performance royalties when a composition is publically performed and send them to writers and publishers.
• Mechanical royalty is the fee paid to the composition owner for copies or streams of a recording. In the United States mechanicals for interactive streaming are collected by the Mechanical Licensing Collective or MLC.
• Foreign collection is money earned outside your home territory. Publishers often use sub publishers in other countries to collect this. Those sub publishers sometimes take fees and percentages.
• Recoupable describes costs that a publisher or administrator advances to you and later deducts from future royalties.

Why publishing matters more than you think

You might think your recordings make the money. Recordings do make cash. Still publishing is the long lived income machine that pays even when the recording fades. Every time your song is streamed, performed live, synchronized to an ad or show, or mechanically reproduced you are owed money. If you do not control the publishing rights you do not control those revenue streams.

Publishing is also the part of the business where publishers claim collection power. They say they will get your syncs, make placements, and set up foreign collection. Sometimes they do. Sometimes they talk fast and make coffee disappear.

Admin only explained in plain English

Admin only means a company handles the paperwork, collects royalties, and pays you after taking a fee. They do not take ownership of the publisher share. You remain the publisher. The admin role often includes registering splits on PROs, collecting mechanicals, and dealing with foreign sub publishers. Admin only deals can be very simple. They can feel like hiring an accountant instead of selling a kidney.

Co publishing explained in plain English

Co publishing means the publisher becomes a co owner of your composition. If your composer split is 50 percent writer and 50 percent publisher, a co publishing deal will usually give the writer part of that publisher slice while the company keeps the rest. Common outcomes look like writer keeps 75 percent of total and publisher keeps 25 percent. That sounds fine. The problem comes from extra deductions, recoupables, and control over registration and sublicensing.

Why co pub can be worse than admin only math wise

Let us show you the dirty numbers. We will use rounded and simple examples so your brain can survive.

Scenario A: Clean admin only

Assumptions

• Song earns $10,000 in publishing income in a year in global royalties and syncs
• Admin company charges an administration fee of 15 percent on gross publishing collections
• Writer and writer splits are simple single writer on the writer share of 50 percent and writer also owns the publisher share as the publisher

Math

• Gross publishing collected: $10,000
• Admin fee 15 percent: $1,500
• Left to you: $8,500
• You keep both writer and publisher slices which is 100 percent of the remainder so your payout is $8,500

Net to you is $8,500 after admin fees.

Scenario B: Co publishing with 50 percent publisher ownership and 25 percent recoupable costs

Assumptions

• Publisher claims 50 percent publisher share leaving you with 50 percent writer share
• Publisher charges an admin fee or takes collection deductions on top of the ownership slice
• Publisher advances you $5,000 and labels that advance as recoupable against your publisher share only
• Publisher sub publishes internationally and takes a 20 percent sub pub fee on foreign income

Math

• Gross publishing collected: $10,000
• Publisher ownership slice 50 percent of $10,000 is $5,000 to the publisher
• Writer share 50 percent is $5,000 but here the writer gets only the writer share directly
• Publisher applies recoupment to their publisher slice or sometimes to both slices depending on contract language
• If the contract says recoupable expenses come from the publisher slice only the publisher will first deduct their $5,000 advance from their $5,000 share leaving zero to the publisher but not returning the advance to you
• In practice the publisher might instead recoup from the total before splits or apply sub publisher fees and admin deductions first and then split the remainder
• Sub publisher fees on foreign money can be 15 to 25 percent of what is collected abroad reducing the pot further

Net effect

• You might end up with less than the $8,500 net under the admin only example even though the raw publisher ownership seems logical
• If the publisher takes 50 percent and then charges large recoupable costs and foreign fees your total take home can be $4,000 or less in this example which is less than the admin only $8,500

The summary is this. Ownership percentage alone does not determine your net income. Fee stacking and recoupment rules can make co publishing deals financially worse than admin only.

Common traps publishers use that kill your income

Publishers are businesses. Some are great. Some are terrifying. Here are the tactics that convert your royalties into someone else s Netflix account.

Trap 1: Recoup everything from the publisher share only language

What they say

We will pay you your writer share. The publisher will recoup advances and expenses from the publisher share.

What that means in reality

If the publisher pocket owns the publisher share and that share is small because they contracted you into a co pub split they can still demand recoupment from foreign collections and charge sub publisher fees which reduce the money that even reaches the publisher share. Then they refuse to pay you until their recoupable balance is zero. That can mean years of zero payout to you while they claim they are recouping legal fees and registration costs that sound impressive.

Real life vibe

You get excited about a $5,000 advance and then watch royalties get eaten by a maze of recoupables while your bank account gets more tired every month.

Trap 2: Gross up or net down games

Two companies with similar language can pay you different amounts depending on whether fees are taken from gross collections or net after sub pubs and admin fees. Publishers love using words like gross and net in confusing ways so always ask for examples with numbers.

Trap 3: Sub publisher fees and foreign collection fees buried in the fine print

Every country has different collection systems. Publishers often appoint sub publishers to collect abroad. Sub publishers commonly take 10 to 25 percent. If a company promises global collection but does not guarantee low sub publisher fees your foreign income can dissolve into commissioned crumbs.

Trap 4: Controlled composition and recording artist clauses that reduce mechanicals

If you are both the songwriter and the recording artist watch for controlled composition or album delivery clauses. These can cap mechanical royalties when your label wants to pay less per stream or per sale. The publisher convinces you that the savings are industry standard while you accept reduced mechanical payments. Those caps matter badly if your record blows up.

Trap 5: Assignment of rights too broad

Some contracts ask you to assign all present and future rights forever under vague terms. That gives the publisher the ability to do whatever they want with your song in the future. Always insist on narrow grants of rights with reversion triggers.

Trap 6: Term length that never ends

Watch for multi decade terms or ownership that survives termination. The scariest deals claim an initial five year term and then automatic renewals unless you send them a certified letter written in blood. Aim for short terms with clear reversion on certain conditions like failure to collect minimum amounts or the company selling the catalog.

Scam alerts you must never ignore

There are companies that are not publishers. They are salesmen selling hope. Red flags are hard money demands and vague language.

• Up front fees for playlisting. Do not pay to get on playlists. Legit playlist curators do not accept fee to guarantee placement. If someone asks for money for placement you are trading cash for nothing.
• Catalog buying scams. If a company wants your catalog rights for pennies on the dollar and pressures you with a deadline walk away or ask for a lawyer. Always get valuations and multiple offers.
• Fake PROs. There are no private PROs that pay global performance royalties the way ASCAP or BMI do. Do your homework and register with accredited organizations.
• Promises of guaranteed syncs. No legitimate publisher guarantees syncs. They can pitch relationships and past placements but no guarantee exists.

Contract clauses to watch and exact language to ask for

Contracts are museums for traps. Here are the clauses you should find and the language you should push for.

1. Administration fee

Ask for admin fee on gross collections only and ask for the percentage in writing. Example ask

We will administer my composition for a fee of ten percent of gross publishing collections after foreign sub publisher fees. That is clean and gives you a number to compare.

2. Recoupment cap and definition

Insist on clear limits to recoupable expenses. Ask that advances are recoupable only from the publisher share and not from writer share. Better ask that recoupment can only be applied to the publisher share and that expenses must be documented monthly with receipts. Play this line

All advances and expenses must be documented and recouped only from the publisher share. Recoupment may not be applied to the writer share and will not be grossed up by administrative fees.

3. Sub publisher fee cap

Ask for a maximum sub publisher commission like fifteen percent and a requirement for a sub publisher report. Language

Sub publisher commissions will not exceed fifteen percent of foreign collections. Publisher will provide detailed sub publisher accounting for each territory.

4. Audit rights

Insist on audit rights at least once per year at your cost if under a certain threshold and at the publisher s cost if discrepancies exceed a threshold.

Writer will have the right to audit publisher records once annually. If audit reveals an underpayment greater than five percent of reported collections publisher will reimburse audit costs.

5. Term and reversion

Keep the term short and demand reversion triggers like failure to pay minimum amounts or failure to exploit the work. Example

Term is three years with renewable one year terms only upon mutual written consent. All rights revert to the writer if publisher fails to generate one thousand dollars in revenue per song during any twelve month period.

6. Metadata and registration control

Metadata mistakes cost money and cause miscollection. Insist you control songwriters split registration and that the publisher cannot change metadata without written consent. Language

Writer retains final approval over songwriter splits and metadata. Publisher will not alter registrations on PROs or mechanical databases without written consent from writer.

7. No exclusive sync or scope creep

Make sure synchronization license rights are limited and that you receive advance notice for major placements with proposed terms. Language

Publisher will not license compositions for synchronization outside of approved proposals. Writer retains final approval for uses tied to advertising or brand endorsements.

Real life scenarios and the ugly math

Seeing numbers with names makes it stick. Meet three imaginary but realistic cases.

Case one: Jana the indie pop writer

Jana signs a co publishing deal for a 25 percent publisher share in exchange for a five thousand dollar advance. The publisher says they will do global collection and pitch her songs to film and TV. Year one the songs earn ten thousand dollars in publishing collections. The publisher claims sub publisher fees of twenty percent on foreign revenue and charges ten percent admin. The publisher applies recoupment against their publisher share first.

Breakdown

• Gross collections: $10,000
• Publisher share 25 percent: $2,500
• Writer share 75 percent: $7,500
• Publisher applies $5,000 advance to their $2,500 share leaving negative $2,500 recouped balance
• Publisher says they will recoup the rest from future income and charges admin fees on gross collections while continuing to report you as owed but unpaid
• Outcome Jana receives $7,500 writer share less admin fee 10 percent equals $6,750 but publisher applies sub pub fees and other deductions in future and uses recoupment to delay further payment

Net Jana ends up with less cash up front than she had hoped and finds herself tied to a recoupment that never clears while the publisher owns a slice.

Case two: Tariq the songwriter who wanted exposure

Tariq accepts a co publishing deal where the publisher promises sync opportunities. The contract allows the publisher to take a 50 percent publisher share and to sub license at their discretion. Tariq signs and then receives no syncs for two years. The publisher sold his rights to a bigger company without telling him and his songs now sit in a pile of hundreds. Tariq s catalog has less attention and he has no power to revert rights because his contract automatic renews.

Outcome Tariq has less earning opportunity and less control. He traded ownership for vague promises and now cannot get rights back easily.

Case three: Admin only done right

Asha hires an administration company for a 12 percent gross fee. They register her splits correctly with PROs. They push songs to publishers for syncs while she retains 100 percent ownership. She gets a $10,000 sync placement and keeps 88 percent after admin fees which is $8,800. She then negotiates separate sync terms and can shop licenses where she likes.

Outcome Asha keeps control, gets cash sooner, and can shop different opportunities without a gatekeeper. Administration fees were an operating cost not an ownership sale.

How to negotiate like someone who pays rent

Negotiation is not a gladiator match. It is math, clarity, and persistence. Here are scripts and tactics you can use.

Script to ask for admin only instead of co publishing

Hi Name, thanks for the offer. I am open to administration support. I prefer to retain full publisher ownership and will pay a twelve percent administration fee on gross collections with quarterly accounting. I will expect sub publisher commissions capped at fifteen percent. If that works please update the agreement and we can sign.

Script to cap recoupment and require receipts

To proceed I need all advances and expenses to be recoupable only from the publisher share. Publisher must provide itemized receipts monthly. If recoupment exceeds publisher revenue by more than twenty five percent we will require a reversion trigger or a revised payment schedule.

Script to demand metadata control

I must retain final approval of songwriter splits and metadata. Publisher will not alter registrations on PROs or mechanical databases without my prior written consent. Accurate metadata is critical to collection and this clause is non negotiable.

How to ask for a reversion clause

Include a reversion clause that returns rights to you if the publisher fails to achieve a minimum collection threshold in any continuous twelve month period. Example language ask

All rights shall revert automatically to writer if publisher fails to generate at least one thousand dollars in gross collections for the work during any consecutive twelve month period.

How to audit statements and what to look for

Accounting statements are where the math lives. Do not be afraid of them. Here is what to inspect.

• Check gross collections then follow each deduction. Make sure sub publisher fees, admin fees, and recoupment are clearly listed.
• Compare PRO statements to publisher statements. Performance royalties from ASCAP or BMI should match what the publisher reports for performance income. If not ask why.
• Check mechanicals reported by the MLC if you are in the United States. Verify that streaming mechanicals line up.
• Request a territory by territory breakdown. Sub publisher fees vary widely by country. You need to see the numbers.
• Check allocation of sync fees. Was the publisher charging additional admin on top of their publisher split? Make sure you know where percentages were taken.

What to do if you already signed and feel ripped off

Stop panicking. Then take steps.

1. Get the agreement to a lawyer who understands music publishing. You will pay money now to possibly save far more later.
2. Start an audit. If your contract allows auditing hire a forensic accountant who knows publishing or request one in writing.
3. Talk to the publisher in writing. Keep records of requests and responses. Sometimes publishers are reasonable when they see someone who understands the math.
4. Prepare for reversion. If you cannot renegotiate look for triggers or breaches you can use to revert rights. Failure to provide accounting or missing payments are often contractual breaches.
5. If the publisher is abusive escalate to industry bodies or talk to other songwriters. Sometimes power is collective.

Checklist before you sign any publishing deal

• Do you retain metadata and split control? If no ask why.
• Is the fee structure explicit and numerical? If vague ask for examples with numbers.
• Is recoupment defined and capped? If not ask to cap it.
• Is there a reversion clause after a short term or minimum revenue? If not ask for one.
• Are sub publisher fees capped and disclosed? If not ask for a maximum percentage.
• Are audit rights spelled out? If not add them.
• Is nationality or territory defined for collection? Make sure global collection has transparency.
• Is the contract forever? Never sign away future rights forever without an escape hatch.

Red flags when talking to publishers

• They pressure you to sign immediately. Good deals survive a night of sleep.
• They refuse to include sample accounting or example scenarios. If they hide numbers they will hide deductions.
• They ask you to pay fees up front for listing or playlisting. Legit admins do not charge you to collect your royalties.
• They cannot name the sub publishers or refuse to provide a list. Transparency matters.
• They use vague words like reasonable without defining them numerically.

Alternate routes if you still want help but hate co pub traps

Not every artist wants to be a publisher. That s fine. Consider these options.

• Hire a trusted admin only company. They will handle paperwork for a fee and leave you ownership.
• Use digital publishing platforms that offer transparent fees and dashboard access. They are not perfect but are often better than giving away ownership.
• Work with an experienced boutique publisher and negotiate a short term probation. Try a one year term with clear targets and a reversion if they do not hit them.
• Form a small publishing company with trusted collaborators. Keep everything internal and transparent. Simple and messy but you keep the upside.

Summary of the numbers rule

Ownership percentages are sexy but remember the actual cash flow after fees and recoupments is what pays rent. Admin only with a fair fee can often leave you with more real income because you kept ownership and avoided layered deductions. Co publishing may be appropriate when a publisher brings demonstrable placement power and you cannot achieve the same results alone. Always ask for proof and always quantify the promise.

Action plan you can use today

1. Do not sign on the first call. Ask for a term sheet and sleep on it.
2. Ask for example calculations for best case and worst case for a $10,000 and a $100,000 earning scenario.
3. Insist on precise percentages for admin, sub pubs, and recoupment rules in writing.
4. Hire a music lawyer or a reputable consultant to review the deal before you sign.
5. Register your songs with your PRO and the mechanical rights organization properly before you transfer or sign anything.

FAQ

Is co publishing always bad

No. Co publishing can be a powerful move if the publisher brings clear placement connections and you cannot get those results alone. The danger is giving away ownership without measurable returns. Always demand proof and quantifiable goals.

What is a fair administration fee

Administration fees typically range from eight to twenty percent of gross collections. Anything above twenty percent requires close scrutiny. Ask for net versus gross examples and insist sub publisher fees are separate and capped.

Can I convert a co pub deal to admin only later

Possibly. Contracts can be renegotiated. Ask for a trial period or reversion triggers before signing. If you are already signed try to negotiate reversion clauses tied to performance benchmarks.

How do I know if a publisher is legitimate

Check their track record. Ask for contactable writers who have worked with them. Verify their sub publisher list and request sample accounting. Legitimate publishers will share references and examples.

What is a sub publisher

A sub publisher is a local company in another territory that collects and administers publishing income in that country. Publishers use them to collect foreign royalties. Sub publishers take a commission which should be disclosed and capped.

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