Canada represents roughly 2-3% of the global recorded music market. Knowing there’s about $2.5 billion in unclaimed royalties globally each year, that’s probably about $50-75 million CAD worth of unclaimed royalties sitting on the table annually for Canadian musicians*.

So, what’s the $50-75 million dollar question? WHAT is a royalty, WHAT are your rights, and HOW do you acquire them? This is where Performing Rights Organizations (PROs) come in. Skip to the end for a pre, during, and post-release checklist that ensures you pick up every penny that you’re owed.

*Back of napkin math

To put this in context… if three different artists recorded their own version of the same song, there are 3 different masters but only 1 composition.

As the name suggests, Performing Rights Organizations (PROs) are the organizations that help creatives receive their share of royalties. Artists need to register with multiple organizations since each covers a different royalty stream (Listen, we’re not saying it’s the most efficient process). In Canada, the key organizations to register with are:

Buckle in, it gets complicated very fast. If (like me) you’ve struggled to understand the difference between a Duke, an Earl, and a Prince, these kinds of royalty might cause some confusion as well.

Performance royalties are generated any time a song’s composition (melody & lyrics) is performed publicly. ‘Performance’ is very broad, constituting everything from live shows to being played as your least favourite bank’s hold music on the telephone

Note: Most artists have already signed up to receive the writer’s share of their material. However, many don’t realize that you have to actively claim your publisher’s share too.

Mechanical royalties are generated when a composition is reproduced. This covers physical formats (CD/Vinyl) as well as digital downloads and on-demand streams. Fun fact - mechanical royalties are called mechanical because they were originally for player pianos… the industry has always been great at updating outdated terminology.

Note: This is one of the most commonly missed royalties for songwriters and publishers because distributors typically do not collect it

Sound recording royalties are generated when a specific recording of a song is streamed or used (remember master vs composition rights?).

Note: Anywhere you see “sounds recording owner,” it is usually either the label or the independent musician, whoever owns master rights.

Covers the rights of performers and sound recording owners when recordings are played or broadcast publicly. If your song is played on Canadian Radio, in a bar, or at a sporting event, the venue or broadcaster pays a licensing fee.

Note: Many independent musicians who own their master AND perform on the recording never register with Re:Sound or ACTRA RACS, missing these royalties entirely.

(US-specific but still relevant) A royalty for non-interactive digital radio (Pandora/Sirius XM)

Note: In the last issue, we covered the key role SiriusXM can have in generating profit for musicians. SoundExchange is how you ensure you’re receiving your share.

Sync royalties are one-time negotiated fees paid when someone licenses your music for use alongside visual media. While there are industry standards, sync fees are not set and are negotiated deal by deal.

Print / Lyric royalties are often overlooked because they are not as hefty or consistent as other streams. These are generated when lyrics or sheet music are reproduced. This includes lyrics displayed on streaming platforms through Musixmatch, printed sheet music, and songbooks. As lyrics are more commonly shown on streaming sites, this revenue stream becomes increasingly relevant.

It is not enough to register as an individual with each PRO; the crucial element enabling you to collect your hard-earned royalties is registering your works. Each song needs to be registered in each PRO, along with ALL the relevant metadata.

The Metadata that matters

Your metadata must be consistent across every platform and organization (yes, even the one you forgot you signed up for in 2019). Different punctuation, capitalization, or featured artist formatting can prevent royalties from reaching you.

✔️ Before release: Finalize all co-writer splits, confirm every writer’s legal name, artist name, PRO membership, and IPI number.

✔️ At upload: Upload to distributor with accurate metadata. Record the ISRC assigned to each track (or provide your own if you’re self-managing these codes). Confirm release title, artist credits, and featured artist formatting.

✔️ Within one week of release: Register composition with SOCAN, including all co-writer names, IPI numbers, and ownership splits. Register composition with CMRRA or SOCAN RR for mechanical royalty collection.

✔️ Within one month of release: Register the recording with ACTRA RACS and CONNECT Music for neighbouring rights. Register with SoundExchange if you have any US listenership. Verify work appears correctly in each database.

✔️ Ongoing: Update your master catalogue spreadsheet (best practice). Submit Notification of Live Music Performance (NLMP) forms to SOCAN after every live show. Check for your recordings in ACTRA RAC’s airplay database.

Thanks for your attention! I know it’s a big ask these days.

If I missed something important, or if you have a recommendation on what I should cover next, just hit reply ⌯⌲

-Lauren (saying it into the mic 🎤 )