How to Split Publishing on a Co-Written Song (2026)

To split publishing on a co-written song, agree on percentages BEFORE you release, document it in a split sheet, and register with your PRO. Here is the complete process.

The song has 5 million streams. You wrote 50% of it. Your co-writer wrote 50%. But you registered the splits differently with your PRO. Now the organization cannot reconcile the registrations and nobody gets paid until the dispute is resolved. Meanwhile the streams keep accumulating.

This is not hypothetical. PRO disputes over mismatched co-write registrations are one of the most common reasons independent artists miss royalty payments. The fix is simple but only if you set everything up correctly before the song is released.

Disclaimer: This is educational content, not legal advice. Consult a music attorney or music business professional for guidance on your specific situation.

Quick-Reference Guide: 5 Steps to Split Publishing

1. Agree on splits before you finish writing. Discuss percentages at the start of the collaboration, not after the song is mixed.
2. Sign a split sheet. Document the agreed percentages in writing. Use a tool or a handwritten sheet, but get it signed.
3. Register with your PRO. Every co-writer registers the song with their PRO (ASCAP, BMI, SESAC, or GMR) with matching percentages.
4. Register with the MLC. Register the composition with the Mechanical Licensing Collective for mechanical royalty collection in the US.
5. Set up payment splits with your distributor. Use DistroKid Split Payments or SoundCloud Split Pay to automate royalty distribution.

What You Will Learn

• The difference between writer share and publisher share
• Typical split scenarios for 2, 3, and 4+ co-writers
• How to create and sign a split sheet
• The best split sheet tools available in 2026
• How to register splits with each PRO
• What happens if you do not have a split sheet
• How to handle international publishing splits
• Common mistakes to avoid

Writer Share vs Publisher Share

When a song is created, copyright law gives the creators two distinct assets:

1. The composition: the song itself (lyrics and melody). This is what publishing covers.
2. The master recording: the specific recorded version. This is separate from publishing.

Publishing income from the composition flows from three main sources:

• Performance royalties: paid by PROs (ASCAP, BMI, SESAC, GMR in the US; PRS in the UK; SOCAN in Canada; etc.) when the song is publicly performed, played on radio, streamed on certain platforms, or used in TV and film.
• Mechanical royalties: paid when the song is reproduced (streamed on demand, downloaded, pressed on vinyl or CD). In the US, these are collected by the MLC (Mechanical Licensing Collective) for digital uses.
• Sync licensing fees: paid when the song is licensed for use in film, TV, advertising, video games, or other visual media.

The Two Separate 100% Pools

Publishing splits follow a rule that feels simple but confuses people in practice: the total writer share is 100% and the total publisher share is 100%. These are two separate 100% pools.

In the US standard model, a PRO splits its total royalty pool roughly 50% to writers and 50% to publishers. So if your song earns $1,000 in performance royalties:

• $500 goes to the writers (split proportionally among all co-writers based on their writer shares)
• $500 goes to the publishers (split proportionally among all publishers based on their publisher shares)

If a co-writer is their own publisher (which is common for independent artists), they collect both their writer share and their publisher share of their portion.

Example with two co-writers, each self-publishing:

If Writer A signs with a publishing company, that publisher takes Writer A's publisher share (the $250), minus their admin fee or advance recoupment. Writer A still collects their writer share directly from the PRO.

Publishing Deal Types

When you sign a publishing deal, the split changes:

• Full publishing deal: you assign your entire publisher share to the publisher. You keep your writer share.
• Co-publishing deal: you assign 50% of your publisher share to the publisher, keeping the other 50%. You also keep your full writer share. See our guide on what a co-publishing deal is and whether it is worth it for more detail.
• Admin deal: the publisher collects and administers on your behalf but does not own any of your copyright. You keep everything; they take an admin fee (typically 10 to 20%).

For the purpose of co-write splits, what matters most is that all co-writers agree on the writer share percentages, because those are permanent and directly tied to how much you collect from performance royalties and mechanicals for the life of the copyright.

Typical Split Scenarios

2 Co-Writers, Equal Split

The simplest and most common scenario. Both writers contributed equally to lyrics and melody.

2 Co-Writers with Producer (40/40/20)

Common in pop, hip hop, and R&B where the producer created the beat or significant musical content.

3 Co-Writers, Equal Split

Three writers each contributing equally. The 34/33/33 split ensures the total equals 100%.

3 Co-Writers, Negotiated Split

When contributions are unequal. The person who wrote the hook and chorus gets more.

Featured Artist

A featured artist typically receives 0% publishing unless they contributed to writing the song. A feature is a performance contribution, not a songwriting contribution. If the featured artist wrote their own verse or contributed to the melody, negotiate their share before recording.

If the featured artist did not write anything and only performed, they receive a flat fee or a percentage of master recording revenue, not publishing.

When Producers Get Publishing

This is the question that causes the most conflict in modern music.

A beatmaker or producer who creates the underlying instrumental track has a strong argument for a composition share because they contributed creative musical content (the arrangement, the harmonic structure, the melodic motifs in the production). A producer who appears on the session after the song is written and provides purely technical recording or mixing work does not.

In practice, here are the common models:

• Beatmaker provides the entire instrumental: the producer typically receives a composition share (often 25 to 50%, negotiated). This is standard in hip hop, R&B, and pop production.
• Producer writes the chord progression and arrangement with the songwriter: both share writing credit. The split depends on relative contribution.
• Producer provides a beat under a beat lease: the producer retains publishing rights to their composition unless the lease is converted to exclusive or a separate publishing deal is negotiated.
• Topline session: a producer builds a track specifically for a vocalist-songwriter. Both parties co-write and both share the composition.

The safest approach is to discuss publishing before the session begins, not after. "Are we splitting publishing equally or by contribution?" takes 30 seconds. "You should not get publishing for what you did" takes weeks to resolve.

Split Sheet Template

A split sheet is a simple document that records the agreed percentages. It is not a full collaboration agreement (though it can be part of one). For a full framework, see our guide on how to write a music collaboration agreement.

Here is a template you can copy and fill in:

SPLIT SHEET

Song Title: _______________________________________
Working Title: ____________________________________
Date of Creation: __________________________________
ISRC (if available): _______________________________
ISWC (if available): _______________________________

CO-WRITER 1
Name: __________________________________________
Role (lyrics, melody, production, etc.): ____________
Writer Share: ________%
Publisher Name: _________________________________
Publisher Share: ________%
PRO (ASCAP/BMI/SESAC/GMR): ____________________
PRO Member ID / IPI: _____________________________
Email: __________________________________________
Signature: _______________________________________

CO-WRITER 2
Name: __________________________________________
Role (lyrics, melody, production, etc.): ____________
Writer Share: ________%
Publisher Name: _________________________________
Publisher Share: ________%
PRO (ASCAP/BMI/SESAC/GMR): ____________________
PRO Member ID / IPI: _____________________________
Email: __________________________________________
Signature: _______________________________________

CO-WRITER 3 (if applicable)
Name: __________________________________________
Role (lyrics, melody, production, etc.): ____________
Writer Share: ________%
Publisher Name: _________________________________
Publisher Share: ________%
PRO (ASCAP/BMI/SESAC/GMR): ____________________
PRO Member ID / IPI: _____________________________
Email: __________________________________________
Signature: _______________________________________

TOTAL WRITER SHARE: 100%
TOTAL PUBLISHER SHARE: 100%

All parties agree that the percentages listed above
represent their respective ownership shares in the
composition. This split sheet is binding upon signature
by all listed co-writers.

Print this out, fill it in during or immediately after your writing session, and have everyone sign before anyone leaves the room.

Split Sheet Tools

You do not need to use paper. Several digital tools make creating, signing, and sharing split sheets faster and more reliable.

SplitSheets.app: A free tool for signing music split sheets online in seconds. No credit card required, no subscriptions. You can create and sign unlimited split sheets. Designed for co-writers, producers, and artists who want clarity from day one. Files are all digital, just fill, sign, and share.

SongSplits: A free platform used by songwriters worldwide. All collaborators receive a notification to negotiate, cross-check, and sign off on their split. Once agreed, the synchronized information gets sent to everyone involved. For a small fee, you can have your music registered with agencies directly from the platform. SongSplits keeps everyone in sync to avoid disputes and licensing delays.

Vandall: A more comprehensive platform that captures IPI, IPN, and ISWC data alongside splits. Each contributor signs with a click, and the signature captures name, IPI, IP address, device, and timestamp. Once signed, the sheet is immutable and changes force a fresh round of sign-off. Vandall also supports co-publishers and provides read-only access for sync agents. The free split sheet maker requires no account.

SplitWorx: Streamlines the process of managing music royalty splits from creation to approval to contract generation. Contributors can review and approve their splits via email. Currently in beta. Native iOS and Android apps are coming soon.

Splits App: A mobile app (iOS) that captures splits in real-time. Add co-writers from your contacts or collaborators with a few clicks. Handles gathering important information such as date of creation and collaborator publisher information. You can share split sheet contracts with your publisher, PRO, and agencies worldwide. In-app purchases available for song registration bundles.

PRO Registration for Splits

Once you have agreed on splits and signed a split sheet, every co-writer needs to register the song with their PRO. This is where mismatched splits create problems.

The registration must match across all co-writers. If Writer A registers a 50/50 split with ASCAP and Writer B registers a 60/40 split with BMI, the PROs cannot reconcile the claim and payment may be held.

ASCAP

• Log into your ASCAP member account
• Go to "Works Registration" and enter the song title, ISRC, and co-writers' information
• Enter your percentage of the composition exactly as agreed in the split sheet
• List your co-writers' names and their PRO affiliations
• Register both as a writer and as a publisher if you are self-publishing
• ASCAP membership is free for writers

BMI

• Log into your BMI account
• Navigate to "Catalog" and select "Add Work"
• Enter the song details, your share, and all co-writers' information
• BMI affiliation is free for writers

SESAC

• SESAC is invitation-only, meaning you must be approved to join
• Once approved, register works through the member portal
• SESAC is smaller than ASCAP and BMI but offers personalized service

GMR (Global Music Rights)

• GMR is a newer PRO founded by Irving Azoff, also invitation-only
• Focuses on higher-value performance royalties for established writers
• Register works through the member portal once approved

Registration Steps for Every Co-Writer

1. Log into your PRO account
2. Register the song title, ISRC if available, and your co-writers' information
3. Enter your percentage of the composition exactly as agreed in the split sheet
4. List your co-writers' names and their PRO affiliations
5. Register both as a writer and as a publisher if you are self-publishing

ISRC codes: Each recording of a song gets a unique ISRC code. Your distributor assigns this. Register the ISRC with your PRO alongside the composition registration.

Multiple PROs: If Co-writer A is with ASCAP and Co-writer B is with BMI, both register separately with their respective organizations. ASCAP and BMI have reciprocal agreements and share data. Each writer will collect their respective share from their own PRO.

International Publishing Splits

For international collaborations, the same split sheet principles apply, but registration gets more complex.

Reciprocal agreements: Your PRO has reciprocal agreements with foreign societies. If your song gets played on UK radio and you are with ASCAP, PRS (the UK PRO) collects the UK performance royalties and remits them to ASCAP, which pays you your share.

Co-writers in different countries: Each co-writer registers with their own national PRO. The split sheet should specify which PRO each writer is affiliated with. The reciprocal agreements handle cross-border payment.

Mechanical royalties internationally: In the US, the MLC collects mechanical royalties. In the UK, it is MCPS (part of PRS). In Canada, it is CMRRA. In Germany, it is GEMA. Each co-writer should ensure their share is registered with the appropriate mechanical rights organization in their territory.

Using a publishing administrator: Services like Songtrust, TuneCore Publishing, or DistroKid's publishing admin option can handle international registration for you. They register your works with PROs and mechanical societies worldwide, typically for a 10 to 20% admin fee. This is worth considering if your music gets significant international play.

What Happens If You Do Not Have a Split Sheet

Skipping the split sheet is the most expensive shortcut in music collaboration. Here is what can go wrong:

Disputes over contributions: "We agreed on 50/50" followed by "No, I said I wanted 60/40 because I wrote the chorus" is the most common co-write dispute. Without a signed document, it becomes a he-said-she-said situation that can take months to resolve.

Default 50/50 in some jurisdictions: In some jurisdictions, if there is no written agreement specifying splits, the default assumption may be equal shares among all credited writers regardless of actual contribution. This means the person who wrote 80% of the song could end up with 50% of the royalties.

PRO payment holds: If co-writers register different percentages with their PROs, the PRO cannot reconcile the registrations and may hold all payments until the dispute is resolved. Meanwhile, the streams keep accumulating but nobody gets paid.

Lost sync opportunities: Sync licensing requires clear chain of title. If a music supervisor asks for your split sheet and you cannot produce one, they will pass on your song. No supervisor wants to license a song with unclear ownership.

Damaged relationships: Disputes over money destroy creative relationships. The co-writer you argued with over 5% will never write with you again, and they will tell other writers about the experience.

The fix is simple: Sign a split sheet before you leave the writing session. Even a handwritten one on a napkin is better than nothing. A digital split sheet through SplitSheets.app or SongSplits takes under 60 seconds.

Distributor Split Payment Tools

In addition to PRO registration, you can automate royalty splits at the distributor level for master recording revenue.

DistroKid Split Payments: DistroKid (7% off) offers a free Splits feature that automatically routes any percentage of earnings from any track to your collaborators. Add producers, bandmates, managers, or anyone else, and DistroKid pays them directly. You can edit splits and percentages any time. Collaborators need a DistroKid account to collect, but if they do not have one, they get a 50% discount coupon to sign up. You can also pay $10/year for a "Split subscription" so non-DistroKid members can collect without a full subscription. Students can use the DistroKid student plan (50% off).

SoundCloud Split Pay: For Artist Pro creators, SoundCloud's Split Pay tool automates royalty splitting with collaborators. Assign a percentage of a track's earnings to any collaborator using their SoundCloud Profile URL. You can set splits during the initial upload or at any time via the Split Pay tab in your dashboard. This applies to SoundCloud's fan-powered royalties, which pay you directly based on your fans' actual listening habits rather than a pooled model.

Important distinction: DistroKid Split Payments and SoundCloud Split Pay handle master recording revenue (the specific recording). They do NOT handle publishing splits (the composition). You still need to register your publishing splits with your PRO and the MLC separately. Use both systems together: distributor splits for master revenue, PRO registration for publishing revenue.

Common Mistakes to Avoid

Waiting until after the song is mixed to discuss splits: By the time the song is mixed and mastered, everyone has more emotional investment in getting a better deal. Discuss splits at the start of the session when everyone is objective.

Verbal-only agreements: "We agreed on 50/50" is worthless without documentation. Get it in writing, even if it is a text message exchange that all parties confirm.

Not registering with the MLC: PRO registration covers performance royalties. The MLC covers mechanical royalties from streaming. Both are required for full royalty collection. If you use a publishing admin service like Songtrust, they handle MLC registration for you.

One co-writer registering and the other not: If one co-writer registers promptly and the other does not, the PRO cannot complete the record and may hold payment. Establish a deadline by which all co-writers register their shares, tied to the release date.

Vague contribution claims: "I just provided a vibe" or "I was in the room" should be addressed immediately. Define what counts as a writing contribution before the session begins. Being present is not the same as contributing.

Forgetting about the producer: If the producer created the beat or significant musical content, they likely deserve a publishing share. Discuss this before recording starts, not after the song is released.

Not updating splits when changes are made: If you remix the song, add a new verse, or bring in a new co-writer after the initial split sheet is signed, create a new split sheet reflecting the updated contributions.

Frequently Asked Questions

Q: What if we cannot agree on the split percentages?

If the discussion stalls, consider defaulting to an equal split. It is clean, simple, and preserves the creative relationship. The money lost from a slightly less favorable split is almost always less than the money (and time) lost to a dispute.

Q: Does the producer get publishing if they already got a flat fee?

It depends on the agreement. A flat fee for production work (work-for-hire) typically means the producer waives any ownership claim. If no agreement was signed and the producer created creative musical content, they may have a legitimate publishing claim. Clarify this before recording starts.

Q: How do we split the publisher share if only one co-writer has a publishing deal?

The publisher share is individual. If Writer A has a publishing deal, their publisher takes Writer A's publisher share. Writer B's publisher share is unaffected and goes to whoever holds Writer B's publishing rights (usually Writer B themselves if they are self-publishing).

Q: Can a co-writer sell their share of the composition?

Yes. A co-writer can sell or assign their ownership interest in the composition. However, unless the collaboration agreement includes a right of first refusal clause, they can sell to anyone without notifying the other co-writers first. Adding a right of first refusal to your collaboration agreement prevents outside parties from buying into your song without your knowledge.

Q: We co-wrote a song two years ago and never registered it anywhere. Is it too late?

You can register with your PRO at any time. You may be able to claim some backdated royalties depending on the PRO's lookback period. ASCAP, for example, has specific rules about claims for historical performances. Contact your PRO directly to understand what is recoverable.

Q: Do I need a split sheet if I am the only writer?

No. If you are the sole writer and sole publisher, you own 100% of both shares. You still need to register the song with your PRO and the MLC, but no split sheet is required.

Q: What is the difference between DistroKid Split Payments and a publishing split sheet?

DistroKid Split Payments handles master recording revenue (money from streams of the specific recording). A publishing split sheet handles composition revenue (performance and mechanical royalties from the underlying song). You need both: distributor splits for master revenue and PRO/MLC registration for publishing revenue. Use our Publishing Royalty Split Calculator to model different split scenarios.

---

Agree on the split today, before the session starts. Sign a split sheet, even a handwritten one. Then register with your PRO before the release date. Those three steps will save you from the most common and most expensive problem in independent music collaboration. If you want to understand how those royalties actually flow once the song is out, our guide on all the music royalties you should be collecting covers the full picture.