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How do you get your mechanical royalties if you don’t have a publisher? Well, you could call up the 60 mechanical rights organizations (MROs) around the world, learn how to speak their language and say that you are the rightful owner of the mechanical royalties. +How To Get All Your Royalties You Never Knew Existed So if you are just signed up with a PRO, you’re missing out on about half of your money! The below chart is what happens when your composition (the song you wrote) gets streamed or downloaded and where that money goes. If you aren’t registered with the MLC (and don’t have a publisher) you’re missing out on your mechanical royalties! You need to signup with them (or get an admin publisher). Worth noting, that if you’re in the US, 100% of US mechanical royalties from streams goes to the newly formed MLC.
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On the publishing side, it’s about equal these days of what goes to the PRO and what goes to the Mechanical Rights Organization (MRO). Some of the money from that stream goes to the PRO for the performance royalties and some of it goes to the mechanical rights organizations (MROs). Mechanical royalties are publishing money generated from streams and sales owed to songwriters and publishers. īelow is the flowchart for the sound recording (master) side – reference the blue circle above). If you get a stream on Spotify, most of that money goes to the label (or distributor) for the recording. How Do You Get Paid For Streams and Salesįirst off, let’s breakdown what happens when your song (and recording) gets streamed and where that money comes from and goes. And PROs (Performing Rights Organizations – like ASCAP, BMI, SESAC, SOCAN, PRS) do NOT collect mechanical royalties. There are still what’s called mechanical royalties out there. (For the record you can only be with one PRO in your country – ASCAP or BMI in the US. Yes performance royalties are PART OF publishing royalties, but not all of them. All they do is help you collect your performance royalties. No, once again, ASCAP, BMI, PRS, SOCAN do NOT do this for you. But, if you’re like me, and you don’t have a publishing company, you still need someone to track down your publishing royalties. And your label (or distributor) would collect the royalties from the master sound recording. My publishing company would collect my royalties from your cover recording. You own the master sound recording, I still own the composition (since I wrote the song). So when we’re discussing Admin Publishers in this article we’re only talking about the pink circle above. Labels represent artists and control (often own) master sound recordings. Publishers represent songwriters and control (sometimes own) compositions. You can pretty much interchange “publishing” and “songwriting.” Whenever we’re discussing “publishing” it’s for the song. One of the biggest points of confusion in the indie musician community is publishing. Oh, and I updated this (finally) after having only CD Baby and Tunecore as part of this report. You’re going to be referencing it a lot in the future.
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If you’re in the States, no, ASCAP or BMI will NOT collect all of your publishing royalties.īefore we jump into this full report, bookmark this page. Waphan, Wapdam, Wap.Let’s just get this out of the way from the get go.
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