There are four different types of royalties in the music recording and publishing industry that are paid to the composer of a work, each derived from a separate and distinct copyright. These are Mechanical royalties, public performance royalties, synchronization fees and print music royalties (Strand, Kouchoukas and Rattner, p.6). Mechanical royalties are fees that are paid to the copyright owner of a song for the right to reproduce the song on a recording. Public performance royalties are paid by music users for each performance or broadcast of performance based on the exclusive right to perform publicly copyrighted works (Strand, Kouchoukas and Rattner, p.6). Synrchonization fees are required any time the performance of a song is accompanied by visual images. Finally, there is print music royalties where a song writer receives royalties from a print license any time sheet music of his song or a folio or collection of his songs is sold (Strand, Kouchoukas and Rattner, p.7). In addition to royalties there are copyright laws where one can obtain a copyright for the work he/she has created and produced. A copyright is described as a bundle of rights, having evolved to embrace virtually every form of reproducing and using creative works in both the physical and the online worlds, ranging from photocopying sheet music to downloading music from the internet and from performing a musical work to webcasting a performance (Faulder). Rights of copyright are exclusive to the owner of copyright and the copyright is attached to only work that is in material form. Anyone wanting to use a copyright work must secure permission from the copyright owner; this provides a mechanism by which the copyright owner can control the use of a copyright work through licensing (Faulder). The copyright owner can require payment in return for a license, whether in the form of a fee or of a royalty being a share of a revenue stream such as sales or advertising (Faulder).