Splits, co-writing and producers

Why this matters more than the mix

Co-writing is one of the best things in music. Two people in a room, a voice memo, a hook that wasn't there an hour ago. Then the song does well and nobody remembers who wrote the bridge.

A split is just the percentage of a song (or a recording) each person owns. Sort it before you release and it's a ten minute chat. Sort it after, and APRA AMCOS needs written permission from every co-owner to change anything, which it says can prove almost impossible once relationships have broken down ^[1].

No judgement here. Nobody's being greedy by asking. Asking early is the respectful move.

Two things to split: the song and the master

Every recorded track has two separate copyrights. The song (the musical work and the lyrics) and the sound recording, often called the master ^[5]. The person who owns the recording is not automatically an owner of the song, and the other way round ^[5].

Song splits decide who gets songwriter royalties through APRA AMCOS: radio, gigs, venues and the publishing side of streams ^[1]. Master splits decide who gets the recording side: streaming money paid by your distributor or label, and PPCA income from radio and public play ^[7][6].

The first owner of a recording is the maker, the person who made the arrangements for it to be made, and who paid is an important sign of who that is ^[5]. Producers, engineers and managers can all claim to be the maker if nothing's in writing ^[5].

• Song split: who wrote the music and lyrics. Registered with APRA AMCOS.
• Master split: who owns the audio. Paid through your distributor, and registered with PPCA.
• They can be different. A producer might own 0% of the song and get points on the master, or the reverse.

What a split sheet is

A split sheet is a short written agreement listing a song's title, every writer, their role and their percentage, signed by everyone. APRA AMCOS recommends agreeing splits before writing starts and getting it in writing, even by email ^[1]. Arts Law recommends written agreements covering ownership of both the songs and the recordings ^[5].

Your split sheet should line up with what APRA AMCOS asks when you register: each writer's name, membership status, split and role (composer or author), adding up to 100% ^[2].

• Song title, and any working titles.
• Date and place of the session.
• Each writer's full legal name, artist name, email and APRA AMCOS member number (or overseas society).
• Role: composer (music), author (lyrics) or both.
• Song split percentage, totalling 100%.
• Master ownership percentages, if you're splitting the recording too.
• Any samples used and whether they're cleared.
• Publisher details, if anyone's signed.
• Everyone's signature or a reply email saying 'agreed'.

How song splits usually work

There's no set rule or formula ^[1]. Whatever the writers agree is fair, is the split. APRA AMCOS lists common approaches: equal shares, the Nashville Rule (everyone in the room splits evenly), music and lyrics splits, and top liner and track writer splits ^[1].

The old school model gave 50% to whoever wrote the music and 50% to the lyricist, but that doesn't always fit modern writing ^[1]. Some writers widen the split to recognise production, riffs, harmony, groove and arrangement ^[1].

Legally, to be a co-author you need to make a significantly original contribution to the music or lyrics, and the law treats co-authors equally, which is why contracts are used to set different shares ^[5].

1. Before the session: agree the method (even shares, or by contribution).
2. End of the session: fill in the split sheet while it's fresh.
3. Everyone signs, or replies 'agreed' to an email with the sheet attached.
4. One member registers the song with APRA AMCOS using those exact numbers ^[2].
5. Share the ISRC once your distributor issues it, so the work can be matched to streams ^[2].

Producers and points

Producers are often cut into the song if they contributed to the writing and construction ^[1]. In some genres a co-writer credit is a standard part of the deal; other artists prefer the producer as a gun for hire, with all musical ideas assigned to the artist ^[4]. If a producer will co-write, Arts Law suggests agreeing that upfront with a default split for disagreements ^[4].

On the master side, producers are paid a one off fee, or a mix of fee, costs budget and royalty, called points ^[4]. A point is 1% of the royalty base, the amount the label pays the artist on ^[4]. The fee is often recoupable from the royalty, and the royalty can start from record one or only after recording costs are recouped ^[4].

Copyright in the session files matters too. Producers often want copyright to pass only once they're paid; artists usually want it to sit with them from day one ^[4]. Ask for the full multitrack sessions as well as the stereo master, so you can remix or fix things later ^[4]. If the producer is signed to a publisher, that publisher needs to be cleared too ^[4].

Features

A featured artist who writes their own verse is usually a co-writer of that song, so they belong on the song split, because co-authorship comes from a significant original contribution to the music or lyrics ^[5]. Some high profile artists get a song share just for lending their profile ^[1].

On the master side, a feature's share is a deal point you negotiate. Arts Law flags that performers can have ownership claims in a recording, so get every performer's position in writing ^[5]. Featured artists on Australian recordings can also register with PPCA for their share of broadcast income; session musicians and DJs aren't featured artists ^[6].

Samples and clearances

Using a sample needs two permissions: one from the owners of the composition (songwriters and publishers) and one from the owners of the master recording ^[3]. There is no safe length. It doesn't matter how much you sample or whether you speed it up or slow it down ^[3].

Get permission in writing. Owners often ask for a share of the royalties, so agree that in writing too ^[3]. You can search the APRA AMCOS song catalogue to find composition owners, and for recordings try ARIA, Spotify credits, Jaxsta or the liner notes ^[3].

Remixes are similar: you can't register a remix with APRA AMCOS unless you can show permission from everyone involved ^[3]. Not cleared? Don't release it. Our honest advice: if you can't clear it, replay or rewrite it.

What to agree before you release

• Song split, signed by every writer, totalling 100%.
• Master ownership: who paid, who owns, who gets what share of distributor income.
• Producer terms: fee, points, recoupment, when copyright passes, delivery of sessions ^[4].
• Feature terms: song share, master share, credit wording.
• Session musicians and backing singers: a release transferring their copyright to the maker ^[5].
• Every sample cleared in writing, both sides ^[3].
• Who registers the song with APRA AMCOS, and who sets up the release with the distributor.
• How decisions get made later: licensing for TV or ads, remixes, takedowns.

What happens without a split sheet

Without a written agreement, everyone who performed on a recording, plus the maker, can end up as joint owners of the sound recording, and you'd need each owner's permission to license or upload it ^[5].

On the song side, APRA AMCOS doesn't publish a default split. Changes after registration need written approval ^[2], and disputes can be referred to Resolution Pathways, an independent dispute resolution service ^[1]. Works can be flagged 'In Dispute' in the portal ^[2].

None of that is fun. It's slow, it can freeze income, and it can end bands.

How splits get registered and paid

Song: register the work in the Writer Portal or app, add each co-writer in Contributors with their split and role, totalling 100% ^[2]. If all writers are members, only one needs to register it ^[2]. A co-writer who isn't a member needs to join, or register through their overseas society ^[2]. Signed writers: your publisher may register for you ^[2]. APRA AMCOS then pays each writer their share directly.

Master: Spotify pays recording royalties to the licensor that delivered the music, meaning your distributor or label, and they pay you under your agreement ^[7]. Many distributors offer a splits feature that pays collaborators their percentage automatically, but features and fees vary, so check your own distributor's help pages. If yours doesn't, the master owner receives everything and pays others under your written deal.

Remember Spotify only pays recording royalties on tracks with at least 1,000 streams globally in the past 12 months ^[8].

Common mistakes

• 'We'll sort it later.' Later is when it's hardest ^[1].
• Splits that add up to 95% or 110%. They must total 100% ^[2].
• Mixing up song and master splits ^[5].
• Assuming a short sample is fine. There's no safe length ^[3].
• Paying a producer with no written deal on who owns the sessions ^[4].
• A co-writer who never joins APRA AMCOS, so their share can't be paid to them ^[2].

How we can help

Use our free Split sheet maker in the session, then register with those exact numbers. Got a producer or feature agreement in front of you? Our Contract review desk gives it real ears before you sign. And Paperwork keeps every signed sheet in one place. No bots, no BS, no lock-in.

Questions people ask

Sources

General information, not legal or financial advice. Last checked 2026-10-26.

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