Send us music
Free. We listen and tell you honestly what we think.
London · Recording, publishing and release
One track,
One track,
two copyrights.
The song and the recording of it are separate copyrights, owned separately and collected by different societies. An artist registered with one but not the other is losing royalties and usually has no idea. We explain that before anything is signed.
- 2015working since
- Londonbased in
- No feeto artists
- Writtenassignments
What we do
Four services, and the paperwork done properly
Splits agreed in writing before release, and both copyrights registered with the right society.
Recording and production
Recording and producing tracks, with contribution and ownership agreed before release.
See the programMusic publishing
Publishing songs, with assignments and licences recorded in writing as the law requires.
See the programRights registration
Registering works and recordings so royalties are actually collectable.
See the programRelease and artist development
Planning releases and building a catalogue, without charging artists to be represented.
See the program
How it works
How we work
Explain both copyrights before anything is signed, agree splits in writing before release, tell artists to take independent legal advice, register with both societies, and never charge an artist to be represented.
Splits and terms in writing
Who owns what, for how long, and in which territories.
Independent advice
Before signing anything that transfers rights.
Registered and released
Work and recording registered separately, metadata checked.
Working together
Ways to work with us
Agreed per project or per release. We do not charge artists a fee to be considered or represented.
A single release
One track or EP, recorded and released.
- Splits written before release
- Both copyrights explained
- Registered with both societies
- Metadata checked
- Masters delivered to you
Publishing
Songs published, with written assignment and income splits.
- Written assignment, as the law requires
- Term and territory stated
- Advance terms explained plainly
- Independent advice encouraged
- Copy of everything you sign
What we will not do
Said plainly, because artists get exploited here.
- No fee to find you work
- No pay-to-be-considered
- No promised streams or placements
- No verbal publishing deals
- No legal advice: take your own
Every engagement is quoted after a free consultation. No subscription.
How we work
A music company that explains the royalties first
Her Dream Ltd is a private limited company registered in England and Wales under company number 09478332, based in London and working in sound recording and music publishing since March 2015 under the same director. The company has traded under earlier names and the registered history is public at Companies House, which we would rather point to than paraphrase.
What we explain before anything else is how the money actually works. A recorded track carries two separate copyrights: the song, and the recording of the song. They can be owned by different people, they are licensed separately, and their royalties are collected by different organisations — the song through PRS for Music and MCPS, the recording through PPL. An artist who has joined one and not the other is earning royalties that nobody is collecting. Alongside that: an assignment of copyright is only valid in writing and signed, an advance is a recoupable payment and not a fee, and we never charge an artist for finding them work, which the Conduct Regulations restrict and which creates exactly the wrong incentive.
Frequently asked
The questions we get most
What are the two copyrights you keep mentioning?
The musical and literary work — the song as written — and the sound recording of it, the master. Two separate copyrights under the Copyright, Designs and Patents Act 1988, which can have different owners. The song's performing and mechanical income comes through PRS for Music and MCPS; income from use of the recording comes through PPL. Being a member of one does not get you paid by the other.
Do I have to pay you to be considered or signed?
No, and you should be wary of anyone who asks. We never charge an artist a fee to find them work or engagements, which the Conduct of Employment Agencies and Employment Businesses Regulations 2003 restrict. More simply: a company paid upfront is paid whether or not anything happens for you, which removes its reason to tell you the truth about your prospects.
Can we agree a publishing deal on a handshake?
No. An assignment of copyright is only effective if it is in writing and signed, so a verbal publishing deal transfers nothing and leaves everyone unclear about what was meant. We write down what is assigned, the term, the territory and the income split, and we give you a copy.
Is an advance money I keep?
It is yours to use, but it is recoupable: it comes back out of future royalties before you see further income. It is a payment against earnings, not a fee, and anyone presenting it as a signing bonus is being careless or worse. We state the recoupment terms in writing so you know what has to be earned before royalties flow.
Will you get my track playlisted or on the radio?
We cannot promise that and nobody honest will. We can plan a release properly, get the metadata and registrations right so that any income earned can actually be paid, and pitch it. Streams, placements and chart positions depend on decisions made by people none of us control.
Should I get a lawyer to look at your contract?
Yes, and we will say so in writing. We do not give legal advice and an agreement transferring your copyright deserves independent eyes. If a lawyer advises you against signing, that is useful information about the deal rather than an obstacle to it.
Got music you want heard?
Send it over. The first conversation is free, and we will tell you what we honestly think.