Publishing claims

What it is

A camp or studio session is where publishing actually changes hands: a publisher hosts the room and takes the publishing from what gets written in it. Aden recorded the splits but not who ends up holding that publishing, so a year later nobody could answer "which org took this, and on what terms?" without digging through mail.

Sessions now carry a publisher for the room plus a per-writer outcome, and every place you enter a percentage says which side of the song it lands on.

Using it

Set the room's publisher. Session → Participants → Publishing from this session. Pick the organisation; that is the whole answer. Its registered name, society and IPI come from the organisation itself, so nothing gets retyped per session. A publisher that isn't on Aden is entered as free text instead. Add the terms as agreed in the room, tick claim for the writers who have no decision yet, and save.

Carve someone out. A writer already signed elsewhere gets set to Carved out on their own row, with their own publisher. Re-saving the room's publisher never overwrites them.

How splits work

Splits are three separate ledgers, and each one adds up to 100% on its own:

• Writer's share: the song from the writers' side. Paid straight to the writers by their societies; a publishing deal never takes this half.
• Publisher's share: the same song from the publishing side, its own 100%. A writer with no publisher holds their own share here.
• Master: the recording, not the song. Its own 100% across the master owners.

The first two together are the "200%" convention: the composition is registered twice, once from each side, so a writer on 50% of the writer's share and a publisher on 100% of the publisher's share are not competing for the same number. Performance income is paid 50% against each composition ledger.