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The Music Royalty Checklist: Where Canadian and Global Music Creators Should Register

Writer: BEATCAVE
BEATCAVE
Sep 9
6 min read

You can release a song, generate streams, get played on radio, perform live and still leave money sitting on the table.


Why? Because music royalties do not all come from one place.


Your distributor does not automatically collect every royalty your music can generate. Your performing rights organization does not collect everything either. Different organizations collect different types of money based on what rights you own, what role you played in the song, where the music is being used and who you have already authorized to collect for you.


This guide breaks down the major royalty streams, where Canadian music creators should start, and where creators around the world can find the organizations that apply to them.


First: Understand the Two Copyrights in a Song


1. The Composition


This is the underlying song: the lyrics, melody and songwriting. Songwriters, composers and publishers can own shares of this copyright.


2. The Master Recording


This is the actual recorded version of the song. Artists, labels or independent creators commonly own all or part of this copyright.


If you wrote your song and own your recording, you could have royalties coming from both sides.


1. Start With Your Distributor


A distributor delivers your master recording to services such as Spotify, Apple Music, Amazon Music, YouTube Music and other digital platforms. The distributor generally receives the master recording revenue generated through those platforms and pays your share to you.


DistroKid: Sign up


Important: Your distributor collecting your streaming revenue does not mean every royalty associated with that stream has been collected.


2. If You Wrote the Song: Register Your Performing Rights


Songwriters and composers can earn performance royalties when compositions are publicly performed or communicated. Depending on the territory, this can include streaming, radio, television, live performances, concerts, businesses playing music and international uses.


For Canadian Songwriters: SOCAN


For most Canadian independent songwriters, SOCAN should be one of the first organizations you understand. SOCAN represents performing rights for songwriters, composers and publishers and works through reciprocal agreements with societies around the world.



Once you become a member, registering the songs themselves is critical. Joining SOCAN does not replace proper work registration.


If You Live Outside Canada


Do not automatically join SOCAN, ASCAP or BMI because you saw them mentioned online. Creators typically join a performing rights organization that makes sense for their country, residency, repertoire and existing representation.


United States: ASCAP or BMI

United Kingdom: PRS for Music

Australia and New Zealand: APRA AMCOS

Germany: GEMA


Can't find your country? Search the CISAC member directory


3. Mechanical and Reproduction Royalties


When a composition is reproduced, another right can be involved. This can include certain interactive streams, downloads, CDs, vinyl and other reproductions of the composition. These are often referred to as mechanical royalties or reproduction royalties.


Canadian Option 1: CMRRA


The Canadian Musical Reproduction Rights Agency works with publishers and self-published songwriters to administer reproduction rights.



CMRRA also offers international collections, including U.S. digital mechanical licensing through The MLC. That is why you should check for overlap before registering directly with multiple administrators.


Canadian Option 2: SOCAN Reproduction Rights


SOCAN can also administer reproduction rights. This is separate from becoming a SOCAN performing-rights member, so you need to understand what you have actually authorized.



Which One Should You Choose?


  • Am I self-published?

  • Do I already have a publishing administrator?

  • Which territories are they collecting?

  • Which rights have I assigned them?

  • Are they already collecting through CMRRA, The MLC or another partner?

  • Am I signing an exclusive or non-exclusive mandate?


The goal is complete collection, not maximum registrations.


4. U.S. Mechanical Royalties: The MLC


The Mechanical Licensing Collective administers eligible U.S. digital audio mechanical royalties. If you control your publishing and are entitled to those royalties, The MLC allows songwriters and rightsholders to create an account and connect their works.



Canadian and international creators should check first whether another organization already collects these royalties for them. CMRRA, for example, can provide U.S. mechanical collection through its relationship with The MLC.


5. Publishing Administration: Songtrust


For creators who do not want to manage multiple collection relationships themselves, a publishing administrator can help. Songtrust administers publishing royalties internationally and can be useful for independent songwriters with meaningful global activity.



Before adding Songtrust, check your existing administration. You do not want competing claims for the same rights.


6. If You Performed on the Recording: Neighbouring Rights


Neighbouring rights are connected to the sound recording and the performances captured on it. This can include featured artists, background vocalists, session musicians, instrumentalists and certain master owners or labels.


Canada: Re:Sound


Re:Sound licenses certain uses of sound recordings in Canada and distributes royalties connected to performers and record companies.



Performer Option: ACTRA RACS


Canadian performers can register their recorded repertoire through ACTRA RACS, which also provides mechanisms for collecting certain international performer royalties where an appropriate mandate has been given.



Performer Option: Artisti


Artisti represents performers and can collect Canadian and international performer royalties.



7. U.S. Digital Performance Royalties: SoundExchange


SoundExchange collects eligible U.S. statutory digital performance royalties associated with sound recordings, including eligible uses from certain non-interactive digital radio and satellite services.



Canadian performers should check whether their Canadian neighbouring-rights organization already collects applicable U.S. royalties on their behalf. Direct registration is not automatically better if you already have representation covering that territory.


8. Neighbouring Rights Outside Canada and the U.S.


Neighbouring-rights organizations vary significantly by territory. Common examples include PPL in the United Kingdom, PPCA in Australia, GVL in Germany, SENA in the Netherlands, SAMPRA in South Africa and Recorded Music NZ in New Zealand.



The Biggest Mistake: Registering Everywhere


Reading a list like this can create the wrong reaction: “I need accounts with all of them.”


You probably do not.


The goal is not to create 12 royalty accounts. The goal is to make sure every right you own has someone responsible for collecting it in the territories that matter.


  • Conflicting claims

  • Duplicate registrations

  • Catalogue disputes

  • Delayed royalties

  • Incorrect ownership data

  • Additional administration fees


Before adding another organization, ask: What exact right, royalty and territory will this organization collect for me that nobody currently handles?


The Independent Artist Royalty Audit


The Master


  • Who owns the master?

  • Is it distributed?

  • What is the ISRC?

  • Are the master splits documented?

  • Who receives the streaming income?

  • Are neighbouring rights being collected?


The Composition


  • Who wrote the song?

  • Are all songwriter percentages agreed?

  • Do the splits total 100%?

  • Does every writer have an IPI number where applicable?

  • Has the composition been registered with the appropriate performing-rights organization?

  • Who administers the mechanical or reproduction rights?

  • Is there already a publisher or publishing administrator?


International


  • Where is the song actually earning?

  • Does your home society have reciprocal agreements covering those territories?

  • Does your neighbouring-rights organization collect internationally?

  • Does your publishing administrator already collect internationally?

  • Are U.S. mechanical royalties covered?

  • Are U.S. digital-performance royalties covered?


If you cannot answer those questions, you do not yet have a royalty system. You have songs online. Those are not the same thing.


A Simple Starting Setup for a Self-Released Canadian Artist


A Canadian artist who writes their own songs, owns their masters and has no publisher could start by investigating:


  1. A distributor for master streaming and download revenue.

  2. SOCAN for performing rights.

  3. CMRRA or SOCAN Reproduction Rights for mechanical and reproduction royalties.

  4. A neighbouring-rights organization such as Re:Sound, ACTRA RACS or Artisti depending on your role and representation.

  5. International coverage through those organizations before adding additional direct registrations.

  6. The MLC, SoundExchange or a publishing administrator only where additional direct collection is actually necessary.


That does not mean every creator should use that exact combination. Your contracts and ownership matter.


Your Metadata Matters Just as Much as Your Registrations


Royalty organizations cannot pay you properly if they cannot confidently connect a usage to your ownership. Keep accurate records for:


  • Legal songwriter names

  • Performing names

  • Writer splits

  • Publisher information

  • IPI numbers

  • ISWCs

  • ISRCs

  • UPCs

  • Release titles

  • Featured artists

  • Producers

  • Session performers

  • Master ownership

  • Release dates


The boring spreadsheet you avoid today can become the difference between money paid and money unmatched later.


Final Takeaway


You do not need to become a royalty expert overnight. But if you are building a serious music career, you do need to understand where your money travels.


Start with four questions:


  • Did I write it?

  • Did I perform on it?

  • Do I own the recording?

  • Who is collecting each right for me?


Once you can answer those four questions for every release, the music business becomes a lot less mysterious and potentially a lot more profitable.


Beatcave helps independent music creators understand the business behind their careers, build the infrastructure they are missing and become ready for more fans, revenue and industry opportunities.

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