When two or more writers create a song together with the intent to merge their contributions, the law calls them joint authors — and each one owns an equal, undivided share of the whole song. That is the default rule whether you wrote 90 percent or 10 percent. Without a written agreement saying otherwise, the split is equal, period.
Joint ownership comes with real power and real obligations. Any co-writer can license the song non-exclusively — say, for a film placement — without asking the others, but they must share the profits equally. What one writer cannot do alone is grant an exclusive license or sell the copyright outright; that takes everybody’s signature. This is why one difficult co-writer can hold a whole catalog hostage. Keep records of every license you grant and every dollar you split — accounting disputes between co-writers are as common as the creative ones.
The fights start when memories differ. Six months after the session, everyone remembers writing the hook. Without a split sheet signed that night, you are negotiating against nostalgia. Courts look at intent and contribution, but litigation over splits costs more than most songs will ever earn. The paperwork signed in the room beats the argument in the courtroom every time.
Protect every session with two habits. First, sign a split sheet before anyone leaves the studio — names, percentages, PRO affiliations. Second, if you want anything other than equal splits, put it in a short co-writing agreement. Joint authorship is the law’s default; your contract is how you override it. Never let the default decide who owns your songs.
About the Author – Ruben Burgos: Ruben Burgos brings over 25 years of music expertise and more than 15 years of model guidance to the table. He is the indie major pinnacle to retaining credits for musicians and helping them navigate this wicked industry without the fuckery.