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Music Royalties: How To Get Paid For Your Work

In music, the word “Royalties” is the Holy Grail. For musicians, it is one of the constant streams of income available. The only problem is that many do not properly apply to receive their royalties, which in turn leaves a lot of due money on the table. Or, in some cases, money is distributed to the wrong parties. This post will explain how to get paid for your work.

Royalties are payments made to songwriters and performers whose work is being used. There are different types of royalties, which could provide different kinds of payments. This information can also be categorized under Music Publishing. See below for what options are available:

~ Mechanical Royalties are payments for the reproduction of songs sold on a per unit basis.

~ Performance Royalties are payments made whenever a song is publicly broadcasted (such as on radio, television, or at a live performance).

~ Synchronization Licenses allow payments when a song is used with a visual image (examples of this can be television advertisements or song placements in movies or video games).

~ License for Sampling grants payments if someone uses a portion of your recording in a new composition.

~ Print Rights from sheet music is also available if your music is printed out in single sheet music form or in a book.

If you are a songwriter, producer or artist, you need to join a Performance Rights Organization (P.R.O.) in order to get paid for your work. The most reputable organizations are BMI, ASCAP and SESAC.

The good news about such a variety in payment options is that there is money to be made for key behind the scene players, not just the artist. Honestly, if you are a songwriter or producer, you stand to make more money than if you merely just sing or perform songs. This is also a good reason for artists to expand their skill set to actually creating their own material.

Instead of applying for all of these royalties separately, CD Baby Pro has consolidated this process for you. You can even use this service if you are already affiliated with a Performance Rights Organization.

Was this information helpful? Which P.R.O. are you affiliated with? Which would you recommend?

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