Publishing catalogue in Curve is separated into five components: Releases, Tracks, Works, Composers & Publishers. Each are individual forms of assets, that will be interlinked with each other. We will go into detail for each of these in this chapter.
Releases & Tracks
Here you store metadata of the master recordings that contain your Works. The Artist and ISRC fields of your Tracks is of importance if you plan you use the CWR delivery function. On the Releases page you can associate tracks with a release. Curve clients with both a Record Label and Publishing account can have their accounts integrated, so master metadata will feed through to the publishing account and so not need entering twice.
For more detail on these areas, check the previous chapter Adding Catalogue – Record Labels
Here you store the metadata of your songwriters. In the Overview tab, you can add a full name (such as a stage name), alongside independent fields for first, middle and surnames. You also need to checkmark if you control the Composer. Besides the songwriters that you control and publish, you will also store songwriters that you don’t publish who own a share on Works in your catalogue.
In the Societies area you can match the writer to its main PRO and performance, mechanical and sync collection societies. In case a composer is a member of multiple collection societies, you can add additional identifiers in the Identifier area. If you control the Composer, you can store the collection society specific agreement numbers between you and your songwriter in the Publisher Agreements area. These are key attributes if you intend to use the CWR delivery feature.
A convenient field is Linked Contracts. Here you can add a single Contract that will be added as a default to all new Works this Composer has written.
This is where you manage the metadata of your publishing company/ies that you sub-publish, alongside third party Publishers that have a share on a Work that you partially control. If you plan to use the CWR deliveries it is important your CAE and collection society identifiers for controlled publishers are complete and correct. Third party publishers are necessary to add in order for you to be able to complete your IP Chain.
Works is where you store the core of your publishing data. The Work contains specific metadata such as the title or the territories you own a work in. Here you link your Works with
the relevant Composers and Publishers
the Tracks which use the composition
the Contracts to calculate due royalties
To follow along with the demo, import the Tracks, Composers, Publishers and Works templates from the demo folder. Make sure you are on the respective index page when importing these files, and importantly, import the Works last, as these will need the Tracks, Composers and Publishers assets on the system to link to.
On the Overview tab, you enter the title and main identifiers of your work. The composer field will automatically pull the data from the IP Chain, as we will see later, so can be left blank when creating a new work. On the right, you can link the Work to one or more Tracks with the Associations tool.
The Contracts topic in Documentation details how you might use the Catalogue Groups tool
On the Territories tab, you identify all the territories where you own the copyright to the Work. That’s it!
The IP Chain is how you describe the composers, songwriters, publishers and sub-publishers ownership of the Work. The IP Chain has multiple layers;
Territory – specify the territory/ies for which you are about to define the rights and ownership shares in the subsequent links.
Publisher – in this layer you add the Publishers. You can select these from the list of Publishers you would have configured on the system before. You can add multiple layers of Publishers to specify sub-publishing agreements.
Composer – In the final layer you can add the Composers. Similarly to Publishers you will select these from the list of Composers that you would have configured on the system before.
Generally you will have one IP Chain for the territory World, this will select all the territories that were checked in the Territories tab of the Work. Additionally you can add specific territories in a new IP Chain, which will function as an exemption to the World IP Chain.
Once all Publishers and Composers have been added, you need to add the Owned and Collected rights percentages. These must add up to 100. The % totals of the Owned and Collected rights are tracked at the top right of the IP Chain. These appear green once each total equals 100%.The Owned Mechanical and Performance splits specify the ownership of the copyright. The Collected Mechanical and Performance splits specify which share you as a publisher will collect, and which share will be collected by the Composer and their PRO. It is important to checkmark all the Publishers and Composers that you represent as Controlled, as this is vital for your CWR deliveries.
When you run a period, the system will need to know how to distribute the ingested revenues to the Contracts; this is where this is configured. When linking the contracts, you need to know which of your songwriters should be accounted, and how much of the income they are to participate in.
As an example, a Work with one Composer that you publish 100%, will have the contract of this Composer added with a Participation Rate of 100. A work with two Composers with an equal share that you publish 100%, will have the contract of both Composers added each with a Participation Rate of 50. So, in the above example, the Dave Grohl contract will be added to this work with a Participation Rate of 100, rather than 60, as 100% of the revenue that we as a publisher receive will be regarding his share.
If you have set up a default Contract for your controlled Composers, the system will automatically add the relevant Contracts to the work & calculate its respective Participation Rates.
Try changing the Owned Performance shares and see how this affects the contract participation rates on the Rights tab.
Aliases are used to match secondary identifiers to your Works. For instance, if you are reported identifiers that are different to those you entered on the Overview (the ISWCs or Tunecodes), you can use Aliases to match them to the Work. These Aliases will work regardless of the source of income. Whereas the Society Identifiers will only match income from statements for that stated society. You can enter these manually on the webform or via the Excel import. There will also be an opportunity to build these when ingesting sales files – so you don’t need to know all of your necessary Aliases in advance. More on that later.
Here you can track which partners you have delivered your Works to, on what date, and if they have successfully acknowledged receipt. We provide more detail on how to deliver your catalogue via CWR in the next chapter.