Frequently Asked Questions

You can reach out to the support team at support@kolektivhouse.com

We distribute music to iTunes as well as Spotify and other major platforms like Tidal and Google Music. In all, we distribute to +150 platforms. You can see a full list of platforms HERE

Unfortunately, no. 

Once tracks have passed our QC it typically takes 48 hours for them to appear online. The earlier you submit your track, the better success you will have with your release

No, the store will deny distribution across multiple distributors.

Send an email to support@kolektivehouse.com with the words “CANCEL MY DISTRIBUTION” in the subject field. It can take up to 72 hours for your release to be removed.

To distribute your album, you must select “Create a release” (regardless of the format) in Catalog >  Albums. This is the process that must always be done, whether it’s an album, an EP, or a single.

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Once created, you will have to follow the 6 tabs of the release and fill in the necessary metadata:Captura_de_pantalla_2022-03-28_a_las_13.54.16.png

 

1. Release info:

In the tab “1. Release info” you must enter the following metadata:

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  • Album (release title). If it is a single of one track, the title must be the same at track level.
  • Cover Art. You must upload an image file from your computer.
  • Remix or version. This field is not mandatory, it should only be filled in the case the release is a remix, a version, or a special edition.
  • Artist(s). You can introduce different artists with different roles.
  • Label. If you are not with any label you can enter the name of the main artist.
  • Genres. You can introduce primary and secondary genres.
  • Language. The main language of the release.
  • Explicit Lyrics. It should only be marked if one or more tracks on the release contain explicit lyrics. This option should also be marked at track level.
  • Format. It is necessary to specify whether it is a single, an EP, or an Album.
  • UPC Code and Reference number. If you do not have the codes you just have to check the box “Assign one to this album”, and the platform will assign them automatically as soon as the distribution process begins after the QC approval.

2. Licenses:

In the 2. Licenses tab you will have to enter the following metadata:

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  • Price category. Select a price range. This will mark the price of your release in stores.
  • Digital Release Date. The date for it to be available on the channels. Keep in mind that channels can take 2 to 15 days to publish.
  • Original Release Date. The date on which the album was originally released. If it has not been released before, the date will be the same as the Digital Release Date.
  • License Type. Copyright or Creative Commons.
  • License Holder. The legal name of the release owner.
  • (P) copyright for sound recordings: Legal name of the sound recording rights owner.

 3. Tracks

If it is the first time you distribute a release and you never uploaded these tracks to the platform before, you must select “From your Computer”, since the tracks won’t be available “From catalogue”.

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Once the tracks are uploaded correctly, review and edit the information of each track by clicking the edit icon on the right. More information can be found here

4. Preview and distribution

Here you will see all the information about the album that has been added. In the upper right, the button “Distribute this release” will appear indicating that you can distribute.

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By clicking that button you will see all available distribution channels. Select the channels you want. Once the channels have been selected, the summary of your order will appear and you can proceed to checkout. You only have to add your billing information and confirm the payment.

 

5. History

Once the album has been validated and sent to distribution, you will be able to verify the status of the pending deliveries as well as the QC approval in the tab “5. History“, a “Finished at” date and “Completion time” indicates that the delivery has been processed. Take into account that the content will be available within a period of 2 to 15 days depending on each DSP.

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6. Distribution

From this tab, you’ll be able to Distribute/Update/Takedown your release. If you are interested in operating for all channels, you’ll find the options “to all channels” in the upper part of the tab. On the other hand, if you want to request it for a specific channel, you’ll find the option under the “Actions” column.

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In this article, you will find all the information related to your tracks’ metadata and how to fill the necessary fields step by step.

 

Diamond distribution is a fully customizable digital distribution package for artists and labels that require a more active role from Kolektiv House. This hands-on approach can range from providing cover art, to assisting with production, to pitch the music to major labels.

Please see the relevant websites for FAQ or alternatively, you can contact their support.

via PayPal 

Our guidelines for cover art are. JPG or. PNG files minimum  3000×3000 pixels & maximum 5000×5000

Our audio format requirements are 16/24 bit 44.1k .WAV files.

To proceed with a catalogue transfer from another distributor to Kolektiv House, we recommend following these steps:

  1. “Create the releases” in the platform by using the same metadata previously used. ISRC code is one of the most important metadata that has to be kept the same, together with the release title, artist names, audio master. This will help data synchronization between the previous release and the new one distributed by your platform (ie. not losing plays on Spotify).  About UPC code, you can use the same as long as the release you’re redistributing is exactly the same as before.
  2. Distribute the content.
  3. Wait until the content appears online on the main channels. The same content will appear as duplicated (one from the former distributor and the other one just distributed by your platform) and you can confirm that synchronization has been completed (it can take up to a week). 
  4. Once you can confirm the synchronization has been successfully done, you can request the takedown from the previous distributor.

To ensure there is no disruption in service please ensure all replacement content is:

  • Exactly the same as the initial delivery in regards to track audio, ISRC, product type (single / album) and metadata to encourage track linking.
  • Delivered at least 5 business days in advance of the set live date.

The sales process works in 2 stages: Estimated Sales and Confirmed Sales.

Estimated Sales: Sales information we uploaded to the platform (from 10th to 20th each month) after receiving the data from the DSPs

Confirmed Sales: Each sales report is validated once the channel’s payment is done (from 20th to 25th monthly)

 

NOTE: The process to confirm a sales report isn’t something immediate as some channels pay in 60 days (invoice date) and we receive the sales reports with a time lag from 45 to 60 days. Please, keep in mind that since you deliver your release until you can see your account balance it can take 3 to 4 months. 

To collect the royalties on your account you have to request the desired amount by clicking the green button “Request outpayment” inside your user’s account Sales > Balance.

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You will be able to request your royalties as soon as your balance overcomes the corresponding threshold, if not, the “Request outpayment” button won’t appear. You can find the current threshold applied to your account from My Account > Pricing.

Apple Music

To claim a profile in Apple Music for Artists you have to do it through https://artists.apple.com/.

Any artist can log in with his Apple ID and fill out a form in which they will be asked to write the profile name they wish to claim, to select the albums associated with that profile, and to point their role in the project (artist, manager or label manager) as well.  

Apple Music will also ask to fill in the contact information as well as with the label’s / distributor’s and the manager’s and to link it at least, with one of the artists’ verified profiles on Facebook or Twitter. Apple Music for Artists will verify all the information and the identity before giving access to the platform.

 

Spotify

To get your Spotify Artist Profile verified and to manage it yourself, you’ll need to request access to Spotify For Artists. Once you’ve done that, you’ll get the blue check on your artist profile (the hallmark of Spotify-recognized profiles).

To request access to Spotify for Artists just fill out this form by following the steps below:

  1. Indicate whether you have a Spotify user account (you must have one to manage an artist profile on the platform).
  2. Log in with your user account.
  3. Indicate your role (artist, manager, label, etc.), your name, the Spotify user account you want to associate with the profile, and an email to send the notifications.
  4. Indicate the name of the artist or the band whose profile you want to claim and verify.
  5. Lastly, verify the Twitter account of the artist or the band and provide links to the website or social networking profiles.

Spotify will check the information and then the blue checkmark will be added to your profile. This is what indicates that you are a verified artist by Spotify.

Then, Spotify For Artists will allow you to change your profile and background pictures whenever you want, create playlists, and check stats as to how, how much, and where your songs are being listened to or who are your listeners, among many other interesting data. 

Moreover, you’ll be able to synchronize your profile with Songkick to show your concert dates at your profile or with Merchbar to sell your merchandising with Spotify.

You will find all the necessary information to claim your artist profile at: artists.spotify.com.

If you don’t get any reply from Spotify after a month, you have to contact directly with the channel through: https://artists.spotify.com/contact.

 

Amazon

First of all, head to the Apple App or Google Play Store and install the Amazon Music for Artists app. Once the app is open, you will be directed to sign in using an Amazon retail account. If you do not have an Amazon retail account, you will need to create one in order to continue going through the sign-up and artist claim flow

To add an artist to your account:

  1. Click on the “Claim An Artist” button at the bottom of the search screen. Search and select the artist you represent.

  2. Press “Take Me There”: Verify your relationship with this artist by providing to Amazon your role and company information. Authenticating with your artist’s social media accounts helps them to expedite the approval process.

  3. Press “Submit“ when all information has been completed. Once the claims have been verified/approved on our end, you will receive an email confirmation letting you know access to the artist has been enabled within your account.

 

Deezer

Deezer Backstage allows artists, labels, and managers to update their artist pages with profile pictures, biography, and links to social media or websites, as well as access their analytics.

In order to avoid possible errors concerning profile assignment, we recommend all end-users to fill the credentials found in their artist profiles, for your SoundCloud profile, Apple Artist ID, and the Spotify artist ID, in the Catalog > Artists tab. 

SoundCloud profile

How to add the SoundCloud profile?

End-users can link their SoundCloud profile to the platform by only copying their profile URL:

https://soundcloud.com/artist

Apple Artist ID

How to get the Apple Artist ID?

End-users can get the Apple Artist ID from the link to their profile. It corresponds to the numbers that follow the artist’s name, at the end of the link:

https://music.apple.com/en/artist/stephen-please/1467880022

Spotify Artist ID

How to obtain a Spotify Artist ID?

There are several ways for users to get an existing Spotify Artist ID:

Desktop App

  1. Navigate to the Artist page in the Spotify desktop app.

  2. Click the “…” icon below the Artist’s name.

  3. Click Share > Copy Spotify URI.

  4. Paste the Spotify URI in this field, and delete “spotify:artist:”.

Alternative to Desktop App

It is also possible to obtain the Artist ID if using the web app:

  1. Navigate to the Artist page in the Spotify web app.

  2. See URL, for instance, https://open.spotify.com/artist/0bOrkDLzYe57Zl803Zv8ww

  3. The Artist ID is the alphanumerical value after “artist/”, for instance, https://open.spotify.com/artist/0bOrkDLzYe57Zl803Zv8ww

Also, the link to the artist page can be copied via the web app:

  1. Navigate to the Artist page in the Spotify web app.

  2. Click the “…” icon below the Artist’s name.

  3. Click Share > Copy the link to the artist.

  4. The Artist ID is the value between artist/ and ?, for instance: https://open.spotify.com/artist/0bOrkDLzYe57Zl803Zv8ww?si=g1V5aDGPSpm2LRMXZuaKdw

When the field is clicked, a pop-up is displayed to guide the user through the process of obtaining the ID.

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* You can find more information about Spotify Artist Profile Assignation here.

 

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Important: this functionality only works with existing profiles, it is not necessary when the end-users need to create a new Artist ID.

 

How to add the SoundCloud profile?

You can link your SoundCloud profile to the platform by only copying your profile URL:

https://soundcloud.com/artist

 

How to get the Apple Artist ID?

You can get the Apple Artist ID from the link to your profile. It corresponds to the numbers that follow the artist’s name, at the end of the link:

https://music.apple.com/en/artist/artist/1467880022

 

How to obtain a Spotify Artist ID?

Here you can find how to get an existing Spotify Artist ID:

From the artist link, for instance: https://open.spotify.com/artist/0bOrkDLzYe57Zl803Zv8ww?si=23AtS65dQ9i4omWPuakyMg

The Artist ID is the alphanumerical value after “artist/”, and before the values “?si…”: 0bOrkDLzYe57Zl803Zv8ww

The holiday season — a time for family, tradition, peace on earth and some of the year’s highest music consumption. Between October and December, millions of people are searching for new Christmas songs — and they could be listening to YOUR music!

Recording a few Christmas tunes is one of the best ways to connect with new listeners who might  not have otherwise heard your music. But before you choose the song(s) you’re going to tackle, you should know ahead of time whether or not you need to pay a publisher/songwriter for the right to record their composition. To make things a little simpler for you, KH has created these two handy lists of popular Christmas tunes. Is the song in the Public Domain list? Great, it’s no longer  protected by copyright and you can release it without a license. Want to cover a copyrighted song? You can easily obtain the required mechanical licenses by emailing support@kolektivhouse.com.

 

Popular Christmas Songs in the Public Domain

“Angels We Have Heard

On High”

“Auld Lang Syne“

“Away In A Manger”

“Coventry Carol”

“Deck The Halls”

“For Unto Us”

“Go Tell It On The Mountain”

“God Rest Ye Merry Gentlemen”

“Good King Wenceslas”

“Hallelujah Chorus”

“Hark! The Herald Angels Sing”

 

“Here We Come A-Caroling

(Wassail Song)”

“I Heard The Bells On

Christmas Day”

“I Saw Three Ships “

“In The Bleak Midwinter “

“It Came Upon The Midnight

Clear”

“Jesu, Joy of Man’s Desiring”

“Jingle Bells”

“Jolly Old St. Nicholas”

“Joy To The World“

“O Come All Ye Faithful”

 

“O Come O Come Emmanuel”

“O Holy Night”

“O Little Town Of Bethlehem”

“Once In Royal David’s City”

“Silent Night”

“The First Noel”

“The Twelve Days of Christmas”

“Up On The Housetop”

“We Three Kings “

“We Wish You A Merry

Christmas”

“What Child is This”

Popular Christmas Songs That Are NOT in the Public Domain

These songs (as old and ubiquitous as some of them are) have not yet passed into the Public Domain. The rights for these compositions are still administered by publishers, and a mechanical royalty would need to be paid in order to record and release cover versions of these songs.

“A Holly Jolly Christmas” by Johnny Marks

“All I Want For Christmas Is My Two Front Teeth”

by Donald Yetter Gardner

“Carol Of The Bells” * by Peter J. Wilhousky &

Mykola Leontovich

*The lyrics and title of “Carol of the Bells” are

copyrighted. The music, a Ukrainian folk song

called “Shchedryk,” is in the PUBLIC DOMAIN.

In order to avoid paying a mechanical royalty,

your recording would need to be an instrumental

version of the composition, and you could NOT call

it “Carol of the Bells.”

“Do You Hear What I Hear?” by Noel Regney &

Gloria Shayne Baker

“Feliz Navidad” by Jose Feliciano

“Frosty The Snowman” by Steve Nelson &

Walter E. Rollins

“Have Yourself A Merry Little Christmas”

by Ralph Blane & Hugh Martin

“Here Comes Santa Claus (Right Down Santa

Claus Lane)” by Gene Autry & Oakley Haldeman

“I’ll Be Home For Christmas” by Walter Kent,

Kim Gannon, & Buck Ram

 

“The Most Wonderful Time Of The Year”

by Edward Pola & George Wyle

“Jingle Bell Rock” by Joseph Carleton Beal &

James Ross Boothe

“Let It Snow! Let It Snow! Let It Snow!”

by Sammy Cahn & Jule Styne

“The Little Drummer Boy” by Katherine K. Davis,

Henry V. Onorati, & Harry Simeone

“Rockin’ Around The Christmas Tree”

by Johnny Marks

“Rudolph The Red-Nosed Reindeer”

by Johnny Marks

“Santa Claus Is Coming To Town” by Fred Coots &

Haven Gillespie

“Silver Bells” by Jay Livingston & Ray Evans

“Sleigh Ride” by Leroy Anderson &

Mitchell Parish

“The Christmas Song (Chestnuts Roasting On

An Open Fire)” by Mel Tormé & Robert Wells

“White Christmas” by Irving Berlin

“Winter Wonderland” by Felix Bernard &

 

Richard B. Smith

Today it’s extremely easy to release a song and get it distributed worldwide. With the click of a mouse,
you can upload your latest track and sell it on iTunes or stream it on Spotify and Apple Music. Within a
few hours, the music can be in the ears of fans around the globe.
So, distribution is no longer a mystery, but musicians still often make the mistake of skipping the
essential steps that music labels know they must take before they distribute music into the world, to
protect artists’ rights and prepare to earn royalty income. There are seven simple registrations you need
to take care of if you’re not working with a label.
But first, let’s review a basic understanding of copyright, as well as the steps to prepare your music
business so you’re ready to register songs when you release them and can collect royalties starting on
day one.
COPYRIGHTS
All seven registrations flow from the two copyrights you receive once you create a new original song.
These copyrights give you ownership of the work. Some musicians make the mistake of only registering
one of the two, but once you understand the two copyrights at stake—and the royalties you can make
from them—you won’t miss the necessary registrations.
The first copyright is for the composition: the song itself. This is about the underlying work you created
that can be recorded, performed, or covered by other bands. No matter how many different versions,
arrangements, or recordings of the song are made, you only need to register the song once using the
Performing Arts (PA) form. This is normally registered by the songwriter(s) of the song.
The second copyright is for the sound recording— sometimes called the master recording. Each sound
recording you make of a song creates a separate copyright; for example, a live recording, a studio
recording, and an alternate acoustic version are three different sound recordings and therefore three
different registrations. To register each of these, you’d need to use the Sound Recording (SR) form.
Labels usually own the SR copyright and the songwriters usually own the PA copyright. But if you’re an
independent artist and composer, you’re both the label and the songwriter, and you own both.
Registration with the U.S. Copyright Office is not required because copyright law automatically gives you
a copyright in an original song as soon as you capture it in a fixed format (digital recording, sheet music,
etc.). Most labels register the copyright, however, because it grants additional rights, including the
ability to sue for damages and attorney’s fees. (And if you don’t register within three months of release,
you lose some of those benefits, although you still own the song and can still register it in order to sue
someone for infringement.)
ROYALTIES

SoundExchange collects sound recording royalties, while SESAC (along with ASCAP and BMI) collects
composition royalties. The composition copyright can generate money for you each time the song is
performed live, played on the radio, or performed as a cover by another artist. Royalties are set by
statute: 9.1 cents per copy/play. Composition performance royalty organizations (PROs) collect money
from radio stations, TV stations, restaurants, live music venues, and websites, and they distribute
royalties to copyright owners. These royalties are based on surveys and other data, and each PRO does
its research differently.
What some musicians miss is that the royalty system splits royalties between two roles: the songwriter
and the publisher. If you’re independent and you haven’t contracted out your publishing rights, you
must register twice—as a songwriter and publisher—to receive all the money the song generates.
The sound recording copyright generates royalties administered by the sound recording PRO,
SoundExchange (soundexchange.com). SoundExchange collects money from streaming services such as
Live365, Pandora, and Radionomy. The royalties are based on reports created by the streaming services
(required by law), assisted by a digital fingerprint called an ISRC code, which the sound recording owner
needs to generate and register. Similar to the composition PROs, royalties are split between multiple
roles: the sound recording owner, and the featured performers and producer. Unless others own the
recording or were featured performers, you are entitled to all the royalties that SoundExchange collects
for these roles. Again, similar to the composition PROs, you need to register yourself as both the sound
recording owner and the performer so you can get all the money you’re owed.
PREPARATION STEPS
Perhaps one of the biggest barriers to musicians successfully securing all seven registrations is the
preparation steps that need to be done ahead of time. If you haven’t joined a PRO, it can take a few
hours to apply to become a member, plus around two weeks to process your application and accept you
as a member. Because of this, we advise you set aside an evening or two to perform the steps below as
soon as you can. These are revenue-generating activities, so although they do take you away from
creating the music, they’re worth spending a night or two doing, so you can enjoy a lifetime of royalty
checks.
1. Create an account at eCO—the Electronic Copyright Office.
Registering at the U.S. Copyright Office’s eCO system (eco.copyright.gov) is free and simply requires your
email address and some basic information, such as name, address, and phone number. It takes just a
few minutes.
2. Choose a composition PRO.
You’ll want to evaluate which PRO to join based on your needs. The main ones in the U.S. include ASCAP
(ascap.com), BMI (bmi.com), and SESAC (sesac.com). (Although to become a member of SESAC, you
must be invited by a current member to join.) Each PRO has different methods for surveying music and
for determining royalties for radio or TV play. Some accept live set lists so you can get paid when you
perform your own music.

Perhaps the most important factor in determining which PRO to choose is that each song can only be
registered with a single PRO, and that means all of the songwriters on a song must belong to the same
PRO to get royalties. And if you work with other songwriters who belong to different PROs, you can join
their PRO, but only if you create a legal entity such as an LLC or corporation to register with them. Note
that the single-song-per-PRO limitation still exists, so you’ll need to carefully track the registrations.
3. Register as a publisher with the composition PRO.
A music publisher’s job is to create licensing opportunities for your music—getting it placed in TV, film,
or advertising. Publishers get a cut of licensing fees and the publisher royalty generated by the
composition PROs. If you’re not working with a publisher, you need to fill this role yourself. You’ll have
to generate the opportunities but will collect all the licensing fees and the publisher’s royalty share—but
only if you register as a publisher with the PRO.
Don’t leave this money on the table; follow the PRO’s steps to register as a publisher. This process
usually requires a contract with the PRO and may take a few weeks to process. That’s why you should do
this ahead of time—weeks before you release any music into the world. Once you finish, however, you’ll
have a publisher’s account that you can use to register each song you release. You also have the option
of acting as a publisher for other songwriters under this account.
4. Register as a songwriter with the composition PRO.
Songwriters get the other half of the composition performance royalty. You’ll need to register with the
same PRO as you did in step 3 above. Similar to setting up the publisher account, this requires a contract
and may take a few weeks to process. Once this is completed, you’ll be able to register each song under
your name.
5. Register as a “both” account with the sound recording PRO (SoundExchange).
SoundExchange will allow you to register an account as a performer, sound recording owner, or both. As
an independent musician, you’ll want to choose the “both” option so you can register your recordings
under both roles and collect both sets of royalties that your recordings will generate.
6. Choose a method to create ISRC codes.
ISRC codes are digital fingerprints that allow SoundExchange to track your sound recording when it’s
streamed. You’ll need to choose a method to generate them for each sound recording you have. If you
make a lot of mixes and sound recordings, it may make sense for you to pay the fee to register your own
ISRC codes by going to US ISRC (usisrc.org) and creating an account. You can also pay organizations like
mastering houses or CD-duplication services to create these for you at a small cost per song or album.
7. Set up a tracking system for your music.

If you release a lot of music, you’ll want to create a spreadsheet or tracking system to make sure you’re
performing all seven registrations on all your music. This becomes especially important if you use
multiple PROs to ensure the same song isn’t registered at more than one.
PERFORMING THE SEVEN REGISTRATIONS
Once the preparation steps are completed, you’re ready to perform the seven registrations for all the
music you release. This should take less than an hour per album of music.
1. Register each song at copyright.gov using the PA form.
Registering the composition copyright requires you use the PA form. Before starting this process, make
sure that you know the names and contact details for all the songwriters of each song. Note that it may
be possible to bundle the sound recording (step 2 below) under the same registration if the exact same
people are both songwriter and owner of the sound recording. If so, choose Sound Recording as the
registration type and choose the “register both” option so you save money. Otherwise, register using
the PA form. To get full statutory benefit, register the song before it’s released to the public—and yes,
making it available to people via SoundCloud or other internet sites does count as a publication under
the law.
2. Register each sound recording at copyright. gov using the SR form.
Each sound recording you make, including all alternate mixes, is a separate sound recording. All can be
registered using the SR form. Similar to the above, make sure that you know the names and contact
details for all the sound recording owners of each song. Just like with the PA form, in order to get full
statutory benefit, you need to register the sound recording before it’s released to the public. Note that
even demos can result in YouTube hits and might end up generating royalties, so they are worth
registering in your collection as well.
3. Register the song as a publisher at the composition PRO.
Log in to your publisher account at your composition PRO and register your song(s). Doing this will
generate the other half of performance royalties generated by the composition. You can register a song
that’s already been released, but it will only generate royalties going forward.
4. Register the song as a songwriter at the composition PRO.
Log in to your songwriter account at your composition PRO and register your song(s). Doing this will
generate half of the performance royalties generated by the song. Similar to the above, you can register
a song that’s already been released, but it will only generate royalties going forward.
5. Register the sound recording as a sound recording owner at SoundExchange.
To collect one-half of the royalties the sound recording produces, log in to your SoundExchange account
and register your sound recording(s). Note that you can register sound recordings even after they’ve

been released. Simply search SoundExchange’s database to find out if they’ve already been collecting
royalties for your sound recording.
6. Register the sound recording as a performer at SoundExchange.
To collect the other half of the royalties that the sound recording produces, you need to make sure
you’re listed as the performer under each recording. Just as with the sound recording owner royalties,
you can register this even after it’s been released by searching SoundExchange’s database, where you’ll
be able to see if they’ve already been collecting royalties.
7. Generate an ISRC code and register it.
Generate an ISRC for each sound recording and register it according to the ISRC instructions. This will
increase the likelihood that the recording gets tracked by Sound- Exchange and generates streaming
royalties.
Once you’ve completed the seven registrations, log everything into in your spreadsheet and save all
documentation that the services generated for you (for example, the registration information from the
Copyright Office and PROs).
OPTIONAL
REGISTRATIONS
In addition to the seven essential registrations described above, there are a handful of optional
registrations you may want to consider.
1. Register the copyright for the cover art.
The cover art for your album or song can be used to make merchandise, or might be useful for TV and
video purposes. It’s not necessary to register the art, but if you sell a lot of merchandise and are
concerned about infringement, it may be worth the basic fee to protect it.
2. Register the copyright for the lyrics.
If you’ve ever wondered why lyrics are rarely printed for cover songs in liner notes, it’s because the lyrics
are copyrighted too, and the artist covering a song usually needs to pay for the rights to print lyrics. You
can register the lyrics the same way you’d register poetry or a literary work so they have the same
statutory protections as your music.
3. Register the release at AllMusic.com.
AllMusic collects all the credits of music releases in its database, which is used by the Grammy
Association and other external agencies to track the musicians, engineers, producers, and others who
worked on the album. All- Music’s database can sometimes be used to prove that a person is entitled to
royalties. Fans also use AllMusic to find out more about their favorite music, so it’s worth the time to
register.

CONCLUSION
Once you’ve registered your music, the next step is to promote it. After all, only music that’s performed
will generate royalties. Talk to music supervisors to get your songs used on TV or film, or act as a
publisher by running a radio, podcast, or streaming campaign. Then, track key performances of each
song. For example, if you know that your song was played on TV, get the cue sheets; if you play your
music live, submit your set lists to the PRO. Some PROs have programs like ASCAP Plus that may still pay
you some royalties even if the music didn’t generate any survey-tracked plays within their database.
But, these programs will only be successful for you if you submit back up documentation that proves
your music was played. Stay on top of when and where your music is performed, and all your hard work
can protect your music while helping you generate income from it.