Pre-Session Survey for Co-Writes (Expectations & Splits)

Do not walk into a co write like it is a casual group chat and hope the money and credits sort themselves out later. You will save time, friendships, and future royalty checks by filling out a quick pre session survey. Think of this as the group text that prevents a group fight at the publishing table. This guide gives you templates, scripts, real life scenarios, legal clarity, and split examples so you can show up like an adult and still be funny.

This is written for artists, songwriters, producers, managers, and anyone who cowrites. We explain terms and acronyms so you do not need a law degree to understand how credit and money move. Everything here is practical. You will find a fillable survey template you can drop into Google Forms, email, or a DM. You will get suggested default splits and negotiation phrases that do not sound like corporate lawyers wrote them. You will also get the steps you must take after the session so your work gets registered and paid.

Why a pre session survey matters

A short survey sets expectations before the session begins. That avoids awkward conversations after the song exists. People assume roles. People assume percentages. People assume ownership. When those assumptions do not match reality you get hurt feelings, bad group chats, and possibly legal letters. A five to ten minute survey makes everything explicit and keeps the writing energy on the music instead of on conflict.

• Prevents split fights by making everyone confirm contributions before a chorus becomes a cash machine.
• Creates professional clarity so producers, writers, and artists all know who registers what with their PROs.
• Saves time because registration and metadata are collected before the session instead of after the champagne wears off.
• Protects relationships because talking money first reduces suspicion and passive aggression later.

What the survey should cover

Your survey should be short and focused. It must collect creative intentions and legal metadata. Group questions into three buckets.

• Logistics The when, where, tech and compensation.
• Creative expectations Who is writing melody, lyrics, topline, beat, arrangement and who owns the master if you record it.
• Business splits and credits How splits will be shared, who registers with which PRO, and publishing administrator preferences.

Roles and responsibilities

Define who does what. Common roles include:

• Topline writer: writes melody and lyric that sits on top of the track
• Lyric specialist: focuses mainly on words and phrasing
• Producer: creates the beat, instrumental, arrangement and can also be a co writer
• Artist: performs the topline and may contribute to lyrics or melody
• Beatmaker: supplies a beat or loop and may request a producer or beat credit
• Engineer: records and mixes but normally not a writer unless they contribute melodic or lyric content

Real world example

Producer Aaron brings a beat and a bassline to a session. Artist Maya brings a hook lyric. Writer J pulls together the verse melody. If you do not assign roles before you start you may end up in a fight about who contributed the hook. The survey clarifies the intent.

Split principles everyone should know

There are two basic split philosophies

• Equal split Also called flat split. Everyone present takes an equal share regardless of how much they actually contributed. This is fast and friendly when you trust each other and want to avoid math with decimals.
• Contribution based split Percentages follow perceived creative input. This requires negotiation and honesty. Use it when contributions are expected to vary widely.

Neither is inherently right or wrong. Choose the one that fits the group culture and the specific session. The key is to agree before the first chorus is sung.

Composition versus master rights explained

Big terms you must understand.

• Composition This is the song as notes and lyrics. Composition generates publishing royalties and is what you split when you talk about songwriting percentages.
• Master This is the specific recorded version of the song. Master rights pay when the recording is streamed or sold. Producers and beatmakers sometimes request producer points on the master, not publishing.
• Publishing Royalties come from the composition. When people perform or stream the song, the publishing owners and their Performance Rights Organizations split performance income. Publishing can be administered by a publishing company or an admin service.
• Mechanical royalties These pay when a recording is reproduced or streamed. They are tied to composition and are part of publishing revenue streams.

Helpful acronym list

• PRO Performance Rights Organization. These are organizations that collect performance royalties when a song is played in public or streamed. In the U S common ones are ASCAP and BMI. If you are outside the U S there are equivalents like PRS in the UK and SOCAN in Canada.
• ISWC International Standard Musical Work Code. This is a unique identifier for the composition. It is created when the composition is registered.
• ISRC International Standard Recording Code. This identifies the sound recording or master. Streaming services use this for tracking plays of the specific recording.

How to design the pre session survey

Design the survey so it takes five to ten minutes. Use closed choices for quick replies and add one open text box for nuance. Host it on a form tool so you get tidy metadata you can copy into publishing registrations later. Add a short explanatory intro that says this document is not legal boilerplate. It just helps you avoid arguments and speeds up registration. Keep the tone friendly and slightly cheeky because you are artists not Antitrust lawyers.

Logistics questions to include

• Session date and start time
• Location. In person address or Zoom link
• Planned duration
• Recording intentions. Are we recording a reference vocal or a final master today
• Compensation. Is this paid work, split only, barter, or a demo session
• If paid, who pays and how much
• Who brings DAW files, stems, and session templates

Creative expectations questions

• What are we making today? Song, hook, topline, full production, beat, feature verse
• Who is responsible for topline melody
• Who handles lyrics
• Is the producer expected to create an instrumental only or co write melody and structure
• Is a sample being used? If yes, who cleared it and who pays for clearance

Business and splits questions

• Preferred split method Equal split or Contribution based split
• If contribution based, suggested starting percentages for each participant
• Publishing entities or personal full legal names for registration
• PRO membership and I D number for each person
• Publishing administrator. Will you use a publisher, an admin service such as Songtrust, or self register
• Master ownership intentions. Who will own the master and how will producer points be handled

Relationship and credit questions

• How should credit appear on streaming platforms and liner notes. Example credits list: Artist feat Producer, Producing by X, Written by X Y Z
• Are there any confidentiality requests or embargoes before release
• Do we expect additional writers to be added later

Sample Pre-Session Survey template

Copy and paste this into Google Forms or your favorite form tool. Keep the question order logical so contributors can fill it quickly.

Intro text for the form

Hey team. We fill this in before we write. It helps us avoid drama and get paid. This is not a contract. It just sets expectations and gives us the info we need for registration. If anything needs to change we can adjust after the session. Thanks for being pro and awesome.

Questions

1. Full legal name and stage name
2. Email and phone
3. Role for this session. Select all that apply:
   • Topline writer
   • Lyric writer
   • Producer / beatmaker
   • Performer / artist
   • Engineer
4. Are you a member of a PRO? Select and provide I D number
   • ASCAP
   • BMI
   • SESAC
   • Other please name
   • Not a member
5. Publishing entity name for registration. If none enter legal name
6. Session type
   • Writing session only
   • Writing plus reference recording
   • Recording final master
   • Remote session
7. Compensation. Select one and provide details
   • No payment just split publishing
   • Flat session fee list amount
   • Paid plus splits list terms
8. Split method for publishing
   • Equal split
   • Contribution based split suggested percentages please list
9. Master ownership intentions
   • Artist owns master
   • Producer owns master
   • Split master ownership list percent
   • Other please explain
10. Will we use any samples? If yes who cleared them and who foots the bill
11. Do you agree to fill out a split sheet at the end of the session? Yes or no
12. Preferred credit line on streaming platforms
13. Any known conflicts or things we should know up front
14. Anything else you want to add

Tip

Make most questions multiple choice with an optional notes field. People hate long forms. Keep it to the point.

How to use the survey in real life

Run through three short scenarios so you can see how the form protects you.

Scenario 1 The morning of a three person session

Artist A, Producer B and Writer C plan to collab. Producer B sends the survey in the morning. Everyone completes it. Producer B lists role as producer and beatmaker. Writer C lists topline writer. Artist A lists performer and co writer. All choose contribution based split and suggest 40 percent artist 35 percent producer 25 percent writer. Producer B adds note that the beat was created outside the session but producer will add elements during the day.

Result: Clear expectation. After the chorus arrives everyone signs the split sheet and the song is registered with the suggested percentages. No argument. The group moves to mix.

Scenario 2 A producer brings a finished beat and asks for 50 50 or nothing

Producer shows up with a dope beat. Artist and writer are expected to add lyrics and topline. Producer demands 50 percent of publishing. This is a negotiation not a demand. Use the survey as the place to say no or to counter offer.

Suggested response script

Love the beat. We want to be fair. This song will have topline and lyric contributions that are central to the composition. Can we do producer 30 percent, topline 40 percent, artist 30 percent? If you want 50 percent then we should do a flat payment plus 25 percent publishing. Which way do you prefer?

Why this works

You offer two paths. The producer can be paid upfront or take a large publishing stake. Both are valid. The survey helps you put that choice in writing before the session turns into a passive aggressive group text.

Scenario 3 Remote sessions and pre purchased beats

Remote sessions are a prize and a problem. Producers sell beats online and expect credit but not splits. If you buy a beat the license terms may already spell out whether the producer keeps publishing. Always read the beat license. Use the survey to confirm licensing details and to state whether additional composition changes will add writers.

Checklist for remote work

• Attach the beat license to the survey reply
• Confirm if the beat is bought exclusive or non exclusive
• State whether producers are paid additional session fees for revisions
• Confirm how vocal stems and session files will be shared

Splits guidance with numbers you can actually use

Here are practical split examples. These are guidelines not rules. Use them sensibly.

Two people only

• Artist and Writer. If the artist wrote half the topline and layouts consider 50 50.
• Producer and Artist. If producer supplied instrumental and artist wrote topline common splits could be 50 50 or 40 60 depending on contribution to the composition.

Three people in the room

Common arrangements and examples

• Producer 30 percent, Topline writer 40 percent, Artist 30 percent. Use this when the writer supplied the hook and topline makes song recognizably new.
• Equal split 33.33 percent each. Use this when the group prefers simplicity and trust.
• Producer 20 percent, Writer 50 percent, Artist 30 percent. Use this when writer is doing heavy lift on both melody and lyric.

Four people or more

When there are many contributors avoid tiny fractional points that will make registration messy. If five people each get an equal share that is fine. If there are instrumentalists who add arrangement but not melodic content consider giving them a token share or a flat fee. Too many small splits create admin headaches and future consent problems.

Producer points on masters

Master points represent a percent of master revenue. Producers commonly ask for 2 to 5 percent points as a starting point or up to 10 percent for a co producer. Be explicit in the survey about whether producer points are expected and if points are negotiable for cash payment instead.

Common pitfalls and red flags

• Someone refuses to fill out the survey or leaves PRO and publishing fields blank. Red flag. Ask why. Lack of transparency causes future problems.
• Producer demands ambiguous language like all rights forever with no payment. Beware. Ask for specifics in writing.
• Samples not cleared. If someone wants to use a sample and there is no plan for clearance you can get a takedown or a lawsuit. Insist on clearance plans before release.
• Too many cooks. If ten writers are present expect micro splits. Consider a flat fee for contributors who just add a line or two.

After the session actions

Do not leave registration and split sheets to memory. Do these steps the same day or the next day while the song is fresh.

1. Complete a split sheet Everyone signs. Include legal names, stage names, percentage shares and PRO I D numbers. If someone refuses do not release the song.
2. Confirm metadata Song title, writer order, publisher names, ownership percent and whether the recording is a reference or master.
3. Register the song with PROs Each writer should register their share with their PRO. If writers use different PROs check that each has the correct split in their registration panel.
4. Register mechanicals and publishing Use an admin service or publisher if you have one. Mechanical royalties are collected in many countries and must be registered for mechanical revenue to flow correctly.
5. Create the ISWC Many PROs create this upon registration. Ensure the code is added to the master metadata when you distribute.
6. Distribute the recording Only after splits are agreed and metadata is set. Distribution metadata feeds streaming platforms and PROs. Messy metadata means lost royalties.

How to write a basic split sheet

A split sheet is not glamorous. It must be simple and accurate.

• Song title and working title if different
• Writer legal names and stage names
• Author share for each writer in percent and fraction
• Publisher name for each writer
• PRO affiliation and I D number for each writer
• Master owner and agreed producer points
• Date, signatures and contact emails

Do this right away. Digital signatures are fine. A photo of a signed paper is fine. The point is to create evidence and clarity so nobody forgets an agreement by Monday.

Tools and services that help

Use tech to reduce friction. Tools include split sheet templates, collaborative metadata forms, and admin services. Examples of actions to take

• Use a split sheet PDF that everyone can sign digitally
• Use an admin service to collect publishing revenue and manage registrations
• Use your distributor to add writer credits to releases. Many distributors allow you to enter writer and contributor metadata on upload
• Store stems and session files in a shared folder with version names and dates

Negotiation tactics and etiquette

Do not be a jerk. Also do not be naive. Be direct and kind. Music people want to feel art first and contract second. Use these rules.

• Ask early. Bring the survey before the session not after. No surprise math.
• Offer options. Provide two ways to compensate someone. Cash or publishing or a mix.
• Be specific. Percentages are better than vague promises like split fairly.
• Listen. If somebody explains they need immediate cash offer a flat fee for their day.
• Put it in writing. Verbal agreements are cute but money needs a paper trail.

Scripts you can use

Send this before a session

Hey team. Quick pre session form to set expectations and collect PRO and publisher info. This helps us register the song and avoid confusion later. Please fill it out before we start. Thanks.

If the producer demands 50 percent

We love your beat and want to be fair. Could we do a 30 percent publishing, 40 percent topline, 30 percent artist split or a flat fee plus 25 percent publishing? Either option keeps things tidy. Which do you prefer?

When to involve a lawyer or manager

Most small sessions do not need a lawyer. But call one if any of the following happens.

• Someone asks for all rights forever with no payment
• There is a sample that needs complex clearance
• There is disagreement about a high value placement offer or sync license
• You are selling your entire publishing or exclusive rights for a fee

Managers can help negotiate splits and advise on whether a flat fee is worth giving up publishing. If a sync or label interest appears inform your manager or lawyer before you sign anything.

Real life examples and lessons

Example 1 A fight avoided

Three writers got together to write a pop single. Producer N sent a pre session survey that asked whether everyone wanted equal splits. One writer replied that they only planned to help with lyric tweaks. Because of that reply the group agreed to a 50 30 20 split before the session. Nobody left the room enraged about percentages. The song was registered and the revenue flowed without a single group text argument.

Example 2 A lesson paid in regret

An artist released a song that used a sample without a clear plan for clearance. Two months later the label representing the sampled content claimed ownership of the master and demanded a large cut of royalties. The release was pulled and the artist lost momentum. The survey would have caught that sample and forced a clearance plan before release.

FAQ

What is a pre session survey for co writes

A pre session survey is a short form that collects roles, expectations, payment details and split intentions before you begin a co write. It helps register metadata, avoid arguments and speed up royalty registration. It is not a legal contract but it is evidence of intent and can be used to create a split sheet.

Do I need a split sheet if I fill out the survey

Yes. The survey is the conversation starter and the split sheet is the final signed record. Complete a split sheet after the session with exact percentages and signatures. The split sheet is what you use to register the song with PROs and publishers.

What does publishing split mean

Publishing split refers to how the composition ownership is divided among writers and publishers. Publishing revenue includes performance royalties and mechanical royalties. The composition split governs who gets those payments and in what percent.

Who should own the master

Master ownership is separate from composition. Typically the artist or label owns the master. Producers sometimes negotiate master points or co ownership if they fund or own the recording. Decide before you record and put it in the survey.

What if someone refuses to sign

If someone refuses to sign a split sheet negotiate. If they still refuse do not release the song. You can still distribute if you assume risk but you may face claims later. Hold off until the issue is resolved or consult a lawyer if the revenue or opportunity is large.

How do I register with a PRO

Each PRO has an online portal. Create an account, add the work and list co writers with percentage splits. Make sure each co writer registers the same split with their own PRO if they use different organizations. Misaligned registrations can cause delayed or withheld payments.

What if we change splits after the session

Changes happen. Get the new split in writing and have everyone sign an addendum that states the new percentages and date. Update PRO registrations and publisher administration records immediately. Do not assume an oral change is enough.

Should I use an admin service for publishing

If you do not have a publisher an admin service can collect worldwide publishing revenue. These services charge a fee but automate registrations and collections. They are helpful for independent artists who want to be paid without managing admin details.

Can engineers get writing credit

Engineers normally do not get writing credit unless they contribute melody or lyrics. If an engineer manipulates audio to create a melodic hook then they may be entitled to a writing share. Be clear about this in the survey if you expect engineering to cross into creative territory.

What if a beat was purchased and not exclusive

Non exclusive beats mean multiple artists can use the same beat. The license will state whether the producer keeps publishing or if the buyer gets limited rights. Always attach the beat license to the survey and confirm if additional composition changes add writers.

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