By CSP Music Group | Artist Education & Music Business Development
Your music is finished. The mix is done, the master has been approved, the artwork is ready, and your distributor has delivered your song to Spotify, Apple Music, Amazon Music, YouTube Music, and other digital streaming platforms.
Maybe your release has already been available for weeks, months, or even years. You are promoting it, sharing links, building your audience, and watching the streams accumulate.
But there is an important question every independent artist needs to ask:
Have you registered your music everywhere necessary to collect the different types of royalties it can generate?
Getting your music onto streaming platforms is only one part of releasing music professionally. Distribution makes your recording available through participating services. It does not automatically mean that every songwriter, recording artist, producer, or rights owner has completed the registrations necessary to collect every royalty they may be owed.
A song can generate money from multiple sources at the same time. Some payments are connected to the composition, meaning the underlying music and lyrics. Others are connected to the actual sound recording. Still others may arise from radio broadcasts, public performances, music videos, international uses, licensing opportunities, or other forms of exploitation.
If your registrations are incomplete, your ownership information is inaccurate, or your songs cannot be matched to the correct rights holders, some of that money may be delayed, remain unmatched, or go unclaimed.
This guide walks you through the process of preparing your music for release, correcting the business side of a release that is already out, and building a system to manage your catalog as your career grows.
The objective is simple: Do not stop at distributing the music. Make sure the business behind the music is prepared to collect what you have earned.
1. Understand What You Are Actually Collecting
Before opening registration accounts, you need to understand that a song and a recording of that song are two different assets.
This distinction affects almost every registration decision you will make.
The musical composition
The composition is the underlying creative work. It generally consists of the music and lyrics, if the song has lyrics.
The songwriters, composers, and other legally recognized rights holders may own shares of this work. A music publisher or publishing administrator may also have contractual rights to administer some or all of it.
For example, you write the lyrics, compose the melody, and create the musical arrangement for a song. Those songwriting rights are separate from the rights associated with the finished master recording.
Composition-related revenue may include:
- Public performance royalties collected through a performing rights organization.
- Digital audio mechanical royalties associated with eligible interactive streaming and downloads.
- Mechanical royalties arising from other qualifying uses.
- Synchronization licensing revenue when the composition is licensed for use in film, television, advertising, or other audiovisual productions.
- Print and other publishing revenue, where applicable.
Not every revenue stream is collected by the same organization. Some are collected through rights organizations, some through publishers or administrators, and some through direct licensing agreements.
The sound recording
The sound recording is the particular recorded performance of the song. In the industry, this is commonly called the master recording.
Imagine that you wrote a song and recorded it in a studio. The composition is one copyrightable work, and your finished recording is another.
If another artist records the same song, that artist creates a different sound recording of the underlying composition. The composition may remain the same, while the new master has its own rights and ownership information.
Sound-recording revenue may include:
- Digital distribution revenue from eligible streams and downloads.
- Eligible digital performance royalties from non-interactive streaming services and digital radio.
- Master-use licensing fees for films, television, advertisements, games, and other productions.
- Eligible neighboring-rights royalties from broadcasts and public uses in certain territories.
- Other revenue associated with licensing or exploiting the master.
The recording artist, record label, producer, or another party may own or control some of these rights, depending on the contracts and circumstances.
Why the distinction matters
An artist may have a performing rights organization account for the composition but no SoundExchange registration for the recording. Another artist may have SoundExchange registration but never register their compositions with the appropriate publishing organizations.
Neither registration automatically replaces the other.
You must identify the rights you own, determine which organizations administer those rights, and verify that the relevant works and recordings are properly registered.
2. Build Your Music Rights File Before You Register
The most efficient way to handle music registrations is to prepare your information first.
Do not begin by opening accounts randomly and trying to remember the details of each release as you go. Build a master catalog that records the identity, ownership, and registration status of every song.
For every release, gather the following information.
Release information
- Official song title.
- Artist name and any featured artists.
- Single, EP, or album title.
- Original release date.
- Distributor and distribution account.
- ISRC for each individual sound recording, where assigned.
- UPC or EAN for the single or album release, where applicable.
- Links to the live release on major streaming platforms.
- Explicit-content status and any alternate versions.
Composition information
- Legal names of all songwriters and composers.
- Each writer's agreed ownership percentage.
- Each writer's performing rights organization, if applicable.
- Writer identification numbers, such as an IPI or IP number, when available.
- Publisher or publishing administrator, if applicable.
- Composition registration identifiers, including an ISWC when assigned.
- Sample, interpolation, or other third-party composition information, where relevant.
Recording information
- Master recording owner.
- Recording artist and featured performers.
- Producer, mixer, and other relevant contributors.
- Agreements covering master ownership, royalties, and licenses.
- Recording identifiers and alternate versions.
- Relevant label or rights-owner information.
Payment and account information
- Correct legal payee name.
- Current contact information.
- Tax documentation required by the organization.
- Payment method and banking details.
- Account login and registration confirmation records, stored securely.
Not every organization requests every item. Some identifiers may not exist yet, and certain fields apply only to particular rights holders. The purpose of the catalog is to keep your records consistent and make it easier to supply the information each organization actually requires.
Do not guess at ownership percentages
If three writers contributed to a song, do not automatically divide the composition equally among them unless that is what they agreed to.
Writer splits, publishing interests, master ownership, and producer royalty arrangements are different things. A person who owns 25% of a master does not automatically own 25% of the composition.
Get the appropriate agreements in writing, resolve discrepancies before registering the work, and keep signed split sheets and relevant contracts with your records.
If a disagreement already exists, do not submit conflicting ownership claims simply to get a registration completed. Resolve the underlying issue or obtain appropriate professional advice.
3. Register Your Songs With a Performing Rights Organization
One of the first things a songwriter should investigate is membership in a performing rights organization, commonly called a PRO.
PROs collect certain public performance royalties for musical compositions and distribute them to their affiliated writers and publishers.
Depending on the territory and the applicable licensing arrangements, qualifying performances can include music played on radio, performed live, used in television programming, or transmitted through eligible digital services.
A distributor's streaming statement does not replace this registration.
Major U.S. performing rights organizations
The American Society of Composers, Authors and Publishers represents songwriters, composers, and publishers. Review its membership requirements, determine the appropriate membership category, and follow its instructions for registering your works.
Broadcast Music, Inc. represents songwriters, composers, and music publishers. Its membership process and work-registration tools allow eligible creators and publishers to establish their accounts and register compositions.
SESAC is another performing rights organization. Its affiliation process differs from that of ASCAP and BMI, so review its current requirements and contact the organization regarding eligibility.
GMR represents selected songwriters and publishers. Review its current affiliation information if it may be relevant to your situation.
These organizations are not interchangeable accounts that every artist should automatically open. Membership and affiliation rules vary, and you should not assume you can register the same writer interests with multiple U.S. PROs at once. Review the applicable agreement before changing organizations.
Registering with a PRO is only the beginning
After joining the appropriate organization, make sure each composition is registered accurately.
Check that:
- The title matches the official song title.
- Every songwriter is identified correctly.
- Writer shares add up appropriately under the applicable agreement.
- Publisher information is accurate.
- Alternative titles and relevant identifiers are included when requested.
- Existing registrations are checked before creating duplicates.
A PRO cannot reliably distribute royalties to the correct parties if the work's ownership information is incomplete or contradictory.
If you have a publisher, confirm whether it is already handling the registration. Do not assume that every publisher or administrator manages every right.
4. Register With The Mechanical Licensing Collective (The MLC)
The MLC Portal and Work Registration
The Mechanical Licensing Collective, commonly called The MLC, administers the U.S. blanket mechanical licensing system for eligible digital audio uses under the Music Modernization Act.
This is an important part of the process for eligible self-administered songwriters, composers, and music publishers.
Mechanical royalties arise from qualifying uses of the composition, including eligible interactive streams and permanent downloads. These are separate from the public performance royalties administered through a PRO.
Who should register with The MLC?
If you wrote your songs and retained responsibility for administering the relevant U.S. digital audio mechanical rights, you may need to establish a Member account and register your compositions.
However, if you signed a publishing agreement or use a publishing administrator that handles these rights, that organization may already be responsible for registering the songs and collecting the royalties.
Before creating a separate account, establish who is contractually responsible for administration. The goal is accurate collection, not duplicate or conflicting registrations.
What should you do?
- Determine whether you or a publisher or administrator controls the relevant mechanical rights.
- Establish the appropriate MLC account if you are responsible for administering those rights.
- Search the catalog before registering a composition.
- Register missing works with accurate writer and publisher information.
- Review ownership shares and correct any errors.
- Provide the required payment and tax information.
- Check your catalog periodically for unmatched works or incomplete information.
Do not assume that joining The MLC automatically registers every song you have written. Membership and work registration are separate steps.
If you already have an account, audit it before creating another one. If a publisher or administrator manages your rights, ask for confirmation of which works it has registered and which royalty categories it collects.
5. Register With SoundExchange
SoundExchange is a separate and essential organization for many recording artists and sound-recording owners.
It collects and distributes eligible U.S. statutory digital performance royalties generated by qualifying non-interactive digital services, including services such as SiriusXM, Pandora, and certain webcasters.
These royalties are associated with the sound recording, not simply the songwriting composition.
Who may be eligible?
You should investigate SoundExchange registration if you are:
- A featured recording artist.
- A band or other eligible featured performer.
- An independent artist who owns the master recording.
- A record label or other qualifying sound-recording copyright owner.
If you both perform on the recording and own the master, determine whether you need to register in both capacities.
Why your distributor is not enough
A distributor generally delivers recordings to digital music services and accounts for revenue under its distribution agreement. That does not mean the distributor has registered you to receive every royalty collected through SoundExchange.
Likewise, a PRO membership does not replace SoundExchange registration.
After registering, use SoundExchange's account tools to search for your recordings, review the information associated with them, and claim eligible recordings when needed.
Important: SoundExchange does not collect songwriter or publisher royalties simply because you wrote a song. Its U.S. statutory digital performance royalty system serves eligible performers and sound-recording copyright owners. Songwriting and publishing royalties require their own collection arrangements.
6. Review Your Digital Distributor's Registration and Revenue Settings
Your distributor is the organization or service that delivers your recordings to streaming platforms and other digital outlets under your distribution agreement.
Examples include:
These are examples, not endorsements. Each service has its own features, pricing, agreements, and optional services.
Your distributor is an important part of your collection system, but it is not automatically responsible for every royalty category.
Audit your distributor account
For every release, confirm:
- The release was delivered to the platforms you selected.
- The artist name and song title are correct.
- The release date and artwork are correct.
- Every recording has the appropriate ISRC.
- The release has the correct UPC or EAN, where applicable.
- The master ownership and revenue-share settings are accurate.
- Featured artists and other metadata are correct.
- Any optional publishing, social-video monetization, or content-identification services are understood and activated only when appropriate.
- Your payout information and tax forms are complete.
- You know where to find statements, deductions, and payment history.
Understand the difference between an ISRC and a UPC
An ISRC, or International Standard Recording Code, identifies a particular sound recording or music video. Different versions of a recording may require different identifiers.
A UPC or EAN identifies a product or release package, such as a single or album.
These identifiers serve different purposes. Neither one is a songwriter registration, a PRO membership, a copyright registration, or a guarantee that every royalty will be collected.
Preserve the identifiers assigned to your releases and use them consistently when supplying recording information to other services.
7. Register Your Copyrights and Protect Your Ownership Records
U.S. Copyright Office Registration Portal
Copyright protection generally begins when an original work is fixed in a tangible form, subject to the applicable law. In the United States, registration provides additional legal benefits and creates an official record of the claim.
For music, it is important to distinguish between the musical composition and the sound recording.
The Copyright Office provides separate registration options for these types of works. Registering a composition does not automatically register a separate master recording, and registering the master does not automatically register the underlying composition.
What should independent artists consider registering?
Depending on ownership, eligibility, and circumstances, consider registration for:
- Original musical compositions and lyrics.
- Original sound recordings.
- Eligible groups of musical works published on an album.
- Eligible groups of sound recordings published on an album.
The Copyright Office offers specific group-registration options for qualifying album releases. Review the eligibility rules carefully because composition claims and sound-recording claims use different applications.
Copyright registration is not a substitute for a PRO, The MLC, SoundExchange, or your distributor. It serves a different legal purpose.
If you are releasing music that includes samples, interpolations, cover songs, or third-party material, make sure you understand the relevant permissions and licensing requirements before release. Do not assume that registration or distribution gives you permission to use someone else's work.
9. Investigate International Neighboring Rights
If your music reaches audiences outside the United States, international collections may be relevant.
In many territories, neighboring-rights systems can collect certain royalties associated with the public performance or broadcast of sound recordings. Depending on local law, qualifying performers and recording rightsholders may have separate interests.
For example:
PPL collects certain UK royalties for performers and recording rightsholders. Eligible individuals may need to join in the appropriate capacity and ensure that their recordings and performances are correctly represented in its repertoire database.
Other countries have their own collection societies and legal frameworks.
Before signing with an international neighboring-rights administrator, review which territories it covers, what rights it administers, whether its mandate is exclusive, and how it handles reporting and payments.
You do not necessarily need to open an account with every collection society around the world. An administrator or collection organization may already represent your rights internationally. The important thing is to establish who is collecting, where they are collecting, and whether your recordings and performer information are registered correctly.
10. What About Producers, Session Musicians, and Other Contributors?
An artist's release may involve more people than the principal performer and songwriter.
Producers, musicians, background vocalists, engineers, and featured artists may have contractual or other rights depending on their contribution, agreements, and applicable law.
Do not assume that everyone involved in a recording is automatically entitled to the same royalties or that every contributor needs to register with every organization.
For example, SoundExchange has a Letter of Direction process through which eligible featured artists or recording owners can direct certain payments to producers, mixers, or engineers under the applicable rules.
SoundExchange: Official Artist and Rights-Owner Resources
Before a release, document the terms for producer compensation, featured-artist participation, master ownership, and other agreed arrangements.
Where session performers may qualify for royalties through a relevant performer organization or collective arrangement, investigate the applicable rules. Organizations representing professional musicians and performers may provide additional information, depending on the circumstances.
Clear agreements protect relationships and reduce disputes after a song starts earning money.
11. Publishing Administrators: When You Need Help Collecting
Some independent artists are capable of registering their own works and managing their royalty accounts. Others prefer to hire a publishing administrator or royalty collection service to manage some of that work.
A publishing administrator may help register compositions, maintain ownership information, collect certain royalties, and account to the songwriter or publisher under its agreement.
Examples to investigate include:
- Songtrust: Publishing administration services for eligible songwriters and rights holders.
- The MLC: A U.S. mechanical-rights organization, not a general-purpose publishing administrator.
- Harry Fox Agency: Provides music licensing and rights-administration services, subject to its current offerings and eligibility requirements.
These organizations perform different functions. Do not assume that registering with one automatically covers every royalty category or territory.
Before paying for an administration service, ask:
- Which specific rights will you administer?
- Which territories are covered?
- Which royalty categories will you collect?
- Will you register my compositions with the relevant organizations?
- What fees, commissions, or other charges apply?
- Do I retain ownership of my compositions?
- What happens to my registrations and royalties if I terminate the agreement?
- How will I verify that my catalog has actually been registered?
Read the agreement carefully. A service that promises to collect royalties should be able to explain precisely what it collects and what remains your responsibility.
12. If Your Music Is Already Released, Do Not Assume It Is Too Late
Perhaps your song has been available for six months. Perhaps you have released ten singles over the last several years. Maybe your distributor has been paying you, but you have never registered your compositions with a PRO or checked your SoundExchange account.
You can still begin an audit.
The fact that a release is already available does not mean you should abandon the registration process. It means you should work systematically through the catalog, determine what has already been handled, and address the gaps.
Step one: Make a complete release inventory
Start with every single, EP, album, remix, instrumental, clean version, and other release you control.
Record the official title, artist name, release date, distributor, ISRC, UPC or EAN where applicable, and streaming links.
Include older releases, not just your latest project.
Step two: Check your distributor
Open your distributor account and review each release. Confirm that the music is live, that the metadata is correct, and that you can access statements and payment records.
If you find an incorrect artist name, duplicate release, wrong recording identifier, or inaccurate ownership setting, follow the distributor's correction process.
Avoid creating a new release just to fix metadata unless your distributor confirms that it is necessary. Unnecessary duplicate deliveries can create additional catalog and royalty-matching problems.
Step three: Audit your songwriting registrations
Identify every composition you wrote or co-wrote.
Check the appropriate PRO's catalog and determine whether each song is registered correctly. If you administer your own publishing, check The MLC for eligible U.S. digital audio mechanical royalties.
If a publisher or administrator is involved, request a catalog report showing which works are registered and which rights it administers.
Step four: Audit SoundExchange
Register if you are eligible and have not done so. If you already have an account, search for your recordings, check the recording-owner and performer information, and investigate any missing claims.
SoundExchange also provides information about unregistered and partially registered creators and rights owners, which can help you investigate whether royalties may be awaiting proper identification.
Step five: Review copyright records
Determine whether the compositions and masters have been registered with the U.S. Copyright Office where appropriate.
Keep registration confirmations and copies of the relevant submissions. If you need to register an older release, review the applicable filing options and requirements.
Step six: Investigate additional collection opportunities
Review whether you need YouTube Content ID administration, international neighboring-rights collection, or other services relevant to your catalog.
Do not buy every available service. Choose based on the rights you control, the uses your music receives, the agreements already in place, and the costs involved.
Step seven: Establish a recurring review
Once your catalog is organized, make this an ongoing part of your music business.
Every time you release a new song, use the same process. Periodically review older releases, account details, ownership information, and royalty statements.
A catalog is not a one-time administrative task. It is an asset that requires ongoing management.
13. The Complete Music Registration Checklist
Use this checklist for every release. Not every item applies to every artist, but every item should be evaluated.
Check each item only after you have verified it with the relevant organization.
1. Ownership and metadata
2. Composition and publishing
3. Recording and distribution
4. Additional revenue and ongoing maintenance
14. Official Registration Links: Keep These Resources Accessible
The following links are a starting point for artists who want to take action.
| Organization or service | Primary purpose | Official resource |
|---|---|---|
| ASCAP | Composition performance royalties | Join ASCAP |
| BMI | Composition performance royalties | Join BMI |
| SESAC | Composition performance royalties | SESAC |
| Global Music Rights | Composition performance royalties | GMR |
| The MLC | Eligible U.S. digital audio mechanical royalties | The MLC |
| SoundExchange | Eligible U.S. digital performance royalties for recordings | Register |
| U.S. Copyright Office | Copyright registration for compositions and recordings | Registration portal |
| Harry Fox Agency | Music licensing and rights administration | HFA |
| Songtrust | Publishing administration | Songtrust |
| YouTube | Content ID and rights-management information | Content ID help |
| PPL UK | Eligible UK recording and performer royalties | PPL |
Before you register: Confirm that the organization administers the specific right you need, that you are eligible, and that another organization or contractual administrator is not already responsible for the same work.
15. The Biggest Mistakes Artists Make After Releasing Music
Mistake 1: Believing distribution covers everything
Distribution is necessary, but it is not a universal royalty collection service. Know what your distributor handles and what remains your responsibility.
Mistake 2: Registering the artist but not the songwriters
An artist profile on a streaming platform does not establish the registration of the underlying composition with a PRO or a mechanical-rights administrator.
Mistake 3: Assuming one registration covers every royalty
A PRO, The MLC, SoundExchange, the Copyright Office, and a distributor serve different purposes. One registration does not automatically replace the others.
Mistake 4: Leaving collaborator information incomplete
Missing writer credits, incorrect ownership shares, and incomplete recording information can complicate royalty matching and payment.
Mistake 5: Registering the same rights without checking existing agreements
Multiple conflicting claims can make administration more difficult. Establish who controls each right before creating new registrations or signing a new administration agreement.
Mistake 6: Never reviewing royalty statements
A registration is not proof that every payment is correct. Review statements, verify reported activity, and ask questions when something does not add up.
Mistake 7: Ignoring older releases
An older release may still generate revenue. Do not focus exclusively on your newest single while leaving the rest of your catalog unorganized.
Mistake 8: Paying for a service without understanding its scope
Before purchasing a royalty collection service, identify exactly what it collects, which territories it covers, what it charges, and whether it duplicates services you already receive.
16. Build a Music Business That Works Beyond the Release Date
The most important shift an independent artist can make is to stop treating a release as a single event.
A release is the beginning of a period in which the recording and composition can continue to be used, licensed, discovered, and monetized.
That requires more than promotion. It requires accurate rights information, clear agreements, organized records, reliable registration processes, and regular review.
Your music catalog should be treated as a business asset. Each recording should have a documented identity. Each composition should have accurate ownership information. Each royalty account should have a defined purpose. Each payment should be traceable to the right, organization, and use that generated it.
You do not have to complete every administrative task in one afternoon. Start with your existing catalog, identify what is missing, and work through the registrations in a logical order.
If you are preparing a new release, complete as much of this work as possible before distribution. If your music is already available, begin the audit now.
The earlier you establish an accurate system, the easier it becomes to manage future releases, work with collaborators, evaluate licensing opportunities, and understand where your income is coming from.
Final Word From CSP Music Group
At CSP Music Group, we believe an artist's development must extend beyond making and releasing music. Artists need to understand the business structures that support their work, the rights connected to their recordings and compositions, and the administrative responsibilities that accompany a professional career.
Getting a song distributed is an accomplishment. Building a catalog that is properly documented, registered, and managed is another level of preparation.
Do not just release your music. Know what you own, know who is responsible for collecting your royalties, and know how to verify that your music business is working.
Your next release should not begin with the same unanswered questions as your last one. Build the system once, maintain it consistently, and make every new release part of a better-managed catalog.
Educational notice: This article provides general music-business information, primarily for artists operating in the United States. Royalty eligibility, collection arrangements, registration requirements, contracts, and applicable laws vary. This article is not legal, tax, or financial advice. Confirm requirements with the relevant organizations and qualified professionals when needed.