Do I Have to Register My Songs Separately in Each Country?
No, you generally cannot and should not try to register your songs separately in every country. As a songwriter, you are assigned one unique IPI Number (your “Global Music ID”). You are meant to join one “Home Society” (like ASCAP or The MLC) and use a Publisher to handle the other 150+ countries. Trying to […]
What’s the Difference Between US and UK/European Publishing Systems?
The US and Europe treat music differently. In the US, music is treated as a Product (Economic Right), whereas in Europe, it is treated as an extension of the Person (Moral Right). Practically, this means the US uses “Statutory Rates” (fixed prices) while Europe uses “Percentage Rates” (negotiated cuts). If you don’t understand the difference, […]
How Do I Collect Royalties from Other Countries?
You cannot join every collection society in the world (it’s too expensive). You also shouldn’t rely on your home PRO (like ASCAP) to do it for you (it’s too slow). The industry standard solution is Sub-Publishing. By using a global administrator like Audiobulb, you tap into local partners in every major territory who collect your […]
How Do International Music Royalties Work?
Music is global, but copyright law is local. There is no “Global Music Bank.” Instead, every country has its own collection society. These societies talk to each other through “Reciprocal Agreements” to pass money back and forth. However, this system is slow and often “leaky,” especially for mechanical royalties, which is why international income is […]
How Can I Track Who’s Using My Music Online?
In the digital age, your music is “content.” Every time a travel vlogger uses your song in the background or a brand uses your beat for an ad, they owe you a royalty. Most artists have no way of knowing these videos exist. At Audiobulb, we use advanced audio-fingerprinting technology to monitor 20+ global platforms […]
What is The MLC, and Do I Need to Register With It?
The MLC (Mechanical Licensing Collective) is the only organization in the US authorized to collect Digital Mechanical Royalties from streaming services like Spotify and Apple Music. If you are an independent songwriter and you are not registered with The MLC (or using a Publishing Administrator who is), you are leaving roughly 15% of your US […]
How Do I Collect Neighboring Rights Royalties as an Independent Artist?
“Neighboring Rights” are performance royalties for the recording, not the song.1 While a publisher collects for the songwriting, they do not collect these. To get this money, you must register with SoundExchange (for US digital radio) and International CMOs (for global radio/TV). If you own your masters and perform on your tracks, you are entitled […]
Can I Get Royalties if I Distribute Through DistroKid but Don’t Have a Publisher?
Yes, you will receive a paycheck from DistroKid, but it is not your full royalty. DistroKid only collects the Master/Sound Recording royalties. Without a publisher, you are missing out on Mechanical Royalties and the Publisher’s Share of Performance Royalties, which can account for 15% to 25% of your total earned income. DistroKid is an incredible […]
How Long Does It Take to Get Paid Royalties After a Song Release?
On average, it takes 2 to 3 months to receive your first streaming payout from a distributor, but 6 to 12 months to receive your first publishing and international royalties. The music industry operates on a “lag.” A song streamed in January might not put money in your pocket until April (for streaming) or July […]
How Are Royalties Calculated on Spotify and YouTube?
Spotify and YouTube do not pay a “fixed rate” per stream. Instead, they use a pro-rata system based on total revenue and market share. On average, a Spotify stream is worth roughly $0.003 to $0.005, but that money is split into two halves: the Master share (for the recording) and the Publishing share (for the […]