Collab Etiquette: Splits Credits and Not Being That Person

Collabing is where hits get made and friendships get tested. You will write a killer chorus, a producer will cook the beat, a rapper will drop a verse, and suddenly everyone wants credit and cash. This guide makes collabs less awkward and more profitable. It will show you how to divide splits without acting like a jerk. It will teach you the paperwork you actually need. It will give scripts you can use when things get tense. Do this now and you will save time, energy, and possibly a friendship.

This article is for the messy creative who wants to stop being clueless about credits. It is for the producer who does everything but still leaves the room empty handed. It is for the songwriter who hates math and prefers vibes. You will learn how to prepare before a session, how to document your work, how to register rights with the right organizations, and how to handle disputes without drama. There are templates and real life scenarios. We explain every acronym and term like you have never seen them before. Read it while you still like your collaborators.

Why splits and credits matter more than you think

Credits are how the world remembers who made the music. Splits are the math that decides who gets paid when the song plays on radio, appears on a playlist, gets used in a commercial, or gets streamed at three in the morning in a terrible bar. If credits are wrong, payments will be wrong. If payments are wrong, people blow up group chats. If group chats blow up, careers stall. That is the boring but real part.

There are two basic royalty buckets. Composition rights and master rights. Composition rights are the words and the music. If you wrote the melody, the chord progression, or the lyrics you own part of the composition. Master rights belong to whoever recorded the final audio. A singer who funds the session and owns the master owns a different piece of the pie than a songwriter who wrote the hook.

Two organizations mostly handle composition performance money. They are called performing rights organizations. Common names in the United States are ASCAP and BMI. ASCAP stands for the American Society of Composers Authors and Publishers. BMI stands for Broadcast Music Incorporated. These organizations collect performance royalties when songs are played on radio, TV, live shows, and some streaming services. You must register compositions with a PRO to get those checks.

A separate entity called SoundExchange collects digital performance money for masters. That is the money that goes to the owner of the recording when the recording is played on non interactive services such as satellite radio or webcasters. Register the master so whoever owns it can get paid for those plays.

Common types of splits and how to think about them

There is no one right split. There are fair splits. Here are patterns that appear over and over. Use them as starting points, not rules carved into stone.

50 and 50 split

This is the classic. Two people share everything equally. It is clean and fast. Use it when both parties clearly contribute equally to the songwriting and production. It is also the default for a simple writer and a co writer who wrote the melody and lyrics together. Real life scenario. You and your writing partner get in a room for two hours and build the hook, verse, and bridge together while the producer provides a basic beat. If both of you wrote words and melody together you can do 50 and 50 on the composition.

60 40 or 70 30 split

Use this when one person did more of the writing or the producer supplied a defining musical element that feels like a writing contribution. For example, a producer creates a topline melody and chord progression and you write the lyrics. If the melody is a major part of the song identity the producer can receive a larger share. Real life scenario. Producer builds a unique instrumental loop and the topline follows that loop so tightly that the hook could not exist without the loop. That producer deserves a bigger slice of the composition split.

Publishing versus writer splits

There are two pieces inside composition money. Writer share and publisher share. Writer share belongs to the writers. Publisher share belongs to the publisher. Many independent artists own their own publishing. If you split writer credits, you should also split publisher credits unless one of you is actually signing the song to a publishing company and offering administration services. Real life scenario. You write with two writers. You each decide to split writer shares equally but one of you owns a publishing business and will administer the song. You can split publisher shares differently to reflect that administrative role.

Producer points on the master

Producers can receive points on the master recording that pay when the master earns revenue. Points are typically expressed as a percent of revenue for the recording. If a producer is also a writer they will receive composition splits and producer points. Real life scenario. A producer makes the beat, records the artist, and mixes the track. The producer wants 3 points on the master and 30 percent of the composition rights. Those are separate payments. Make sure both are documented.

Simple rules to avoid being that person

• Ask about credits before things get recorded. Do not spring a paperwork demand after the song is a hit.
• Put splits in writing the day of the session even if they feel obvious.
• Own your ego. If someone makes a bigger contribution, give them the credit and the cash.
• Communicate constantly. Silence is the incubator for drama.
• Pay session musicians promptly and write their role and payment into the note so there is no confusion about writer credit. Most session musicians do not get composition splits. Make that clear.

Before you sit down to write: prep like an adult

Walk into the room with answers for these basic questions. You will reduce friction and increase trust.

• Who is bringing the instrumental? Who is producing? Who owns the raw files and the final stems?
• Who is writing melody and lyrics? Who is contributing arrangement changes that might count as writing?
• Are there samples or borrowed elements? Who is responsible for clearance?
• How will we split composition and publisher shares?
• Do we want a verbal handshake for now and a written split sheet later, or do we want to document the splits immediately?

If you cannot answer these things quickly you are not ready to collaborate without a high chance of disagreement. Prepare to be decisive and fast. The music industry rewards speed of clarity.

What is a split sheet and how to write one

A split sheet is a simple document that states who created what and what percent of the composition each person will own. It is not glamorous, but it is the most effective prevention tool for future fights. Everyone who contributed signs it and keeps a copy. You can type one up in Google Docs and share it. The key is timestamping and signatures.

Essential fields for a split sheet

• Song title
• Date written
• Writer names with legal name and stage name
• Role description for each person. Example. Lyrics, topline, chord progression, beat, arrangement idea, producer that wrote a hook.
• Writer split percentages that add up to 100 percent
• Publisher split percentages if applicable
• Master owner name if known
• ISRC if the master is already assigned. ISRC stands for International Standard Recording Code. It is a unique identifier for a recording.
• Signatures and contact email addresses

Quick split sheet template

Use this template when you need to lock things fast. Copy and paste to your phone notes and fill it out. Send one link to every collaborator and ask them to sign before the group photo.

Song title: ______________________
Date: ______________________
Writers and roles:
1) Legal name and stage name. Role description. Percent of composition: __%
2) Legal name and stage name. Role description. Percent of composition: __%
3) Legal name and stage name. Role description. Percent of composition: __%

Publisher shares if applicable:
1) Name. Percent: __%
2) Name. Percent: __%

Master owner: ______________________
ISRC if available: ______________________

Signatures:
1) ______________________   Date: ____
2) ______________________   Date: ____
3) ______________________   Date: ____

Pro tip. If you are remote use an e signature tool. Both parties need a copy that they can use when registering with PROs and distributors.

Percent examples you can steal without shame

Percent math makes people anxious. Here are examples tied to roles so you can start offering numbers and stop sounding like a deer in headlights.

Full band co write

Four writers collaborated on melody and lyrics equally. Composition split: 25 each. Publisher split if one band member manages publishing: writers split 25 each and publisher split 50 to manager and 50 split among the writers depending on how you want to handle administration.

Producer plus singer songwriter

Producer made the track and added a melody that became the hook. Singer wrote the verse and refined the topline. Composition split example. Producer 40. Singer 60. Master points to producer can be negotiated separately, for example producer takes 3 percent of master revenue.

Beat lease purchase scenario

If the artist buys an exclusive beat from a producer the deal often grants the artist full publishing and master ownership while the producer retains producer points on the master and sometimes a portion of publishing. If the beat was leased non exclusively the producer retains full publishing and the artist may pay a license fee to use the beat without taking royalty shares. Read the beat agreement carefully.

Feature artist

Featuring a guest vocalist does not always equal writing credit. If the guest writes their verse they should be a credited writer. If the guest only performs pre written lyrics they are a featured performer on the master but not a composition writer. Example split. Writers who wrote the song split composition. Featured performer gets master performance payment either as a one time fee or as a negotiated share of master income.

Registering the song the right way

After you sign your split sheet it is time to register the song. Different registrations protect different income types. Do each one as appropriate.

Register with a performing rights organization

Register composition splits with your performing rights organization. If you are in the United States choose ASCAP or BMI or SESAC. SESAC is more selective and operates differently. If you are in the United Kingdom register with PRS for Music. If you are elsewhere find your local PRO. Register each writer and match their split portions. If the splits change later update your registration immediately.

Register publishing with an administrator

If you do not want to collect global mechanical royalties yourself use a publishing administrator such as Songtrust. Songtrust registers compositions for mechanical royalties in multiple territories. Mechanical royalties are the money paid when a composition is reproduced or streamed. If you do not register mechanical rights you will miss out on income from streaming services and physical sales in many countries.

Register the master with SoundExchange

SoundExchange collects digital performance money for the master recording. Whoever owns the master should register the recording so plays on satellite radio and non interactive streaming services pay out correctly. If the master has multiple owners register the ownership shares or use a distributor that handles that process.

Distributors and split payments

Distributors like DistroKid and companies such as Stem and AdRev offer split payment tools. DistroKid has a splits feature that allows the main uploader to automatically split revenue to collaborators based on percentages. Stem is a platform that pays collaborators based on agreed splits and offers transparency. If you use these tools make sure the distribution split matches the composition split if that is what you intend. Master income and composition income are separate.

When to get a lawyer involved

Most early collabs do not require a fancy legal team. But bring legal help if you see one of these flags.

• The track has significant sample use that could trigger expensive clearance fees.
• The song is likely to get placed in TV, film, or major commercial campaigns where sync licenses will be negotiated.
• There is a large up front payment exchange or a complex rights ownership negotiation.
• One party wants exclusive assignment of publishing rights and the others are uncertain about terms.

A basic entertainment lawyer can review split agreements and explain long term consequences. Lawyers cost, but they can save you from losing future revenue that is worth many times their fee.

Practical etiquette for the studio and remote sessions

Show up on time

Yes you will roll in late sometimes. Still, predictable lateness kills sessions. If you are late text and give a new arrival time. If you are late more than once apologize and bring snacks or a small session fee.

Bring files in an organized way

Name your stems clearly. Example file name pattern. SongTitle_artist_role_date. Use WAV files at the agreed sample rate. Send a consolidated project if you can. Include tempo, key, and any plugin versions that are critical to sound. This makes future mixes and stems less painful.

Credit session players properly

Session musicians deserve credit on the master metadata. A guitar player who plays a signature riff that becomes part of the composition deserves a conversation about credit. If the player was paid a one time session fee and did not contribute to the writing make that explicit before recording.

Respect private ideas

If someone shares a raw demo do not post it on social media without permission. Do not add it to your profile or show it to other artists without consent. This will earn you a reputation as untrustworthy fast.

Real life conflict scenarios and how to handle them without drama

Scenario one. Someone claims more credit after a song blows up

Fix this by staying calm and asking for specifics. Request the signed split sheet. If the signed split sheet does not exist ask everyone to sit down and reconstruct contributions. Use timestamps on files to prove who created what. If the parties cannot reach agreement bring in a neutral mediator or lawyer. The longer you let the argument fester the worse it will get.

Scenario two. The producer wants producer points and writer credit for arrangement tweaks

Teach the difference between arrangement and composition. A drum fill or a production texture is an arrangement. A new melodic hook or chord progression is composition writing. If the producer created a new melody that appears in the chorus that is a writer credit. If the producer only made the vocal sit better in the mix that is usually producer work. Clarify before you record to avoid this fight.

Scenario three. A featured artist says they deserve publishing after writing a short bridge

If the bridge includes original melody or lyrics that are not derivative then that artist deserves a share of songwriting. You can negotiate a small percentage to reflect the contribution. If the contribution is tiny and the pool has many writers consider micro splits such as 2 to 5 percent. Document the decision and update registrations.

How to negotiate splits without sounding like a villain

• Start with gratitude. Acknowledge the vibe and the contribution.
• Use objective language. Say how many bars or which section the person wrote rather than subjective worth statements.
• Offer a range instead of a single demand. Say I think 20 to 30 percent might be fair given you wrote the chorus and the hook.
• Use the split sheet in the room so you can adjust numbers and sign on the spot.
• If things get tense suggest a break and revisit the numbers when emotions cool.

Negotiation is not a fight about ego. It is an update to reality. Be generous if you can. Generosity builds relationships that lead to future work more often than extreme bargaining does.

Templates you can text or email when the collab turns complicated

Template for asking about credits before the session

Hey team. Quick question before we lock in the session. How do you want to handle composition and master splits if we write something? I prefer to fill a quick split sheet during the session so we do not have to guess later. Cool?

Template to set expectations after a session

Great session today. I am adding a quick split sheet to the shared doc so we can sign it. My notes say the topline and lyrics are split like this. Please add or correct anything and sign when we agree. Thanks everyone.

Template for when someone asks for more credit later

I saw your message about wanting more credit. I want to resolve this fairly. Can you point to the parts you feel you wrote or created? I will check my session notes and the split sheet. Let us set a quick call to sort this tomorrow.

Tools that make split tracking boringly easy

Use technology to reduce human drama. Here are tools that the smart teams use.

• DistroKid Splits. A feature that can send master revenue to collaborators when a track earns income. Good for simple master splits.
• Stem. A platform that collects revenue and distributes to collaborators based on agreed splits. They also offer reporting to reduce surprises.
• Songtrust. A publishing administrator that registers your compositions across multiple territories to collect mechanical and performance royalties. Good for artists who want global admin without setting up their own company.
• Google Docs or Dropbox Paper. For split sheets and versioned notes. Use a shared folder with date stamps so you can track changes.
• Basic e signature services. Use them to get formal sign off fast and without fuss.

Common mistakes and quick fixes

• Waiting to agree on splits until after the song is released. Fix by agreeing the day of the session and documenting it.
• Assuming performing credit equals writing credit. Fix by learning what writing contributions actually are. Melody and lyrics usually earn composition credit. Performance alone does not.
• Not registering with a PRO. Fix by picking a PRO and registering each writer and the split percentages right away.
• Forgetting to add producer points to the master. Fix by documenting master ownership and producer points before release.
• Using informal chat as a contract. Fix by moving agreements into a signed document.

How to split for remote sessions and asynchronous collabs

Remote sessions are messy but normal now. Use time stamps and file version history to prove contributions. Keep a living split sheet in a shared cloud doc. Add a short line for each file that explains what is inside and who created it.

Real life example. You send a topline demo and a producer returns a fully produced version. The producer then adds an extra melody that becomes the hook. Mark the files like this. File name. Creator. Date. Contribution notes. Then open the split sheet and adjust percentages to reflect the new writing contribution. Sign and register these splits before the release.

What to do if someone refuses to sign a split sheet

Do not release the song if a crucial contributor refuses to sign. You will create legal exposure and likely have to pay more later. Instead request mediation. Offer a fair initial share and explain the reason for the distribution calmly. If the person still refuses you can either release the song without their signature and assume the risk or shelve the track until you can get a resolution. Burying the problem is worse than confronting it early.

When micro splits make sense

Not every tiny contribution deserves an equal share. If a person suggests a tiny lyrical tweak or a short ad lib you may compensate them with a small percentage or a one time fee. Micro splits from 1 to 5 percent are common to reflect small but meaningful input. Keep the math tidy. If you create many micro splits the administration becomes a pain. Consider paying for admin services if the split count grows.

Final checklist before release

• Signed split sheet in the cloud with contact info for everyone.
• Composition registration with your PRO with exact percentages.
• Publishing registration with your admin if relevant.
• Master owner registered with SoundExchange where applicable.
• Distributor split set up for master revenue if using DistroKid Splits or Stem.
• Session player credits sent to the metadata for streaming services.
• Sample clearances on file if any borrowed elements exist.

FAQ

What exactly counts as songwriting

Songwriting is the creation of melody, chord progression, and lyrics. If you wrote the main hook melody, a verse melody, or original lyrics you are a songwriter. Arrangement and production choices can be songwriting when they create new melodic or harmonic content that changes the song identity. If you are unsure describe the contribution and negotiate with colleagues. When in doubt document the intention in the split sheet.

Does performing on the track automatically give me songwriting credit

No. Performance credit is not the same as songwriting credit. If you performed a part that you also wrote as a melody or lyric then yes. If you sang pre written lines or played parts without writing new melodic content that is performance. You may still get paid as a featured artist or session musician depending on your deal.

How do I change splits after a song has been registered

You can change splits but you must update the registrations with your PRO and any publishers. It is cleaner to agree splits before registration. If a change is needed show proof of mutual agreement and get every party to sign an updated split sheet. Update distributor and master payment tools as well.

What if someone contributed but their name is misspelled in metadata

Fix it quickly. Incorrect metadata can prevent royalties from reaching the right person. Contact your distributor and PRO to correct details. Keep proof of the signed split sheet and use it to speed the correction. Make metadata accuracy part of your release checklist.

Can I sell my publishing or writer share later

Yes you can sell or assign publishing shares. Many artists sell part of their publishing to raise money. If you sell shares the buyer will receive that portion of future publishing income. Such deals should be done with legal advice. The sale will not change the writer share unless specified in the agreement.

Get Contact Details of Music Industry Gatekeepers

Looking for an A&R, Manager or Record Label to skyrocket your music career?

Don’t wait to be discovered, take full control of your music career. Get access to the contact details of the gatekeepers of the music industry. We're talking email addresses, contact numbers, social media...

Packed with contact details for over 3,000 of the top Music Managers, A&Rs, Booking Agents & Record Label Executives.

Get exclusive access today, take control of your music journey and skyrocket your music career.

Unlock Instant Access