Split n Spin

Free guide · 9 chapters

How to Get Paid

A plain-language guide for US musicians who play in bands and write songs together: where music money comes from, who pays it, and which accounts to open so none of it is left unclaimed.

Facts last checked on the official sites

  1. Every song is two copyrights

    A released song is two things: the recording and the song itself. Each earns different money from different collectors. Here is which is which.

  2. Performance royalties and PROs

    What a performing rights organization collects, BMI versus ASCAP, what joining costs (nothing for writers), and when the money arrives.

  3. The publisher share

    Half of every performance dollar is set aside for a publisher. How BMI and ASCAP treat songs with no publisher, and what a publishing administrator does.

  4. The MLC and streaming mechanicals

    The MLC pays US streaming and download mechanicals to songwriters. It is free to join. The 2026 rates, the payment timeline and what happens to unclaimed money.

  5. SoundExchange and digital radio

    SoundExchange collects for recordings played on satellite and internet radio. Free to join, a 4–6% fee, and a 50 / 45 / 2.5 / 2.5 split set by law.

  6. The ID numbers, explained

    The four codes that tie money to your music: ISRC for a recording, UPC for a release, ISWC for a song, IPI for a writer. Where each comes from and what it costs.

  7. Split sheets and band agreements

    A one-page split sheet per song and a short band agreement prevent most money fights. What to put on each, with a filled-in example.

  8. Common money leaks

    Fourteen ways bands lose royalties they earned, from a missing publisher membership to changed ISRCs, and the fix for each one.

  9. The checklist

    Every account to open, in order, with what it costs: for the band, each songwriter and each performer. Plus distributors compared. Print it.

The example band

Meet Copper Kettle

Every chapter follows one three-piece. Ana sings, plays guitar and writes most of the lyrics. Ben plays bass and writes a lot of the riffs. Cass plays drums and helps arrange.

They recorded “Porch Light” in Ben’s basement and agree the song is Ana 40%, Ben 30%, Cass 30%. The recording belongs to the three of them equally.

Ana is already in BMI. Ben joined ASCAP years ago. Cass has never signed up for anything. That’s a very normal band, and it’s exactly where money starts to slip through the cracks.

The dollar amounts in Copper Kettle’s examples are made up to keep the maths easy. The fees, rates and rules are real and were checked on the official sites.

Short on time?

Start with these three

  1. Every song is two copyrights: why a distributor alone collects only half the money.
  2. Common money leaks: fourteen ways bands lose royalties, and the fix for each.
  3. The checklist: every account in order, with what it costs. Print one per bandmate.

Questions

Do I need a PRO, The MLC and SoundExchange, or just a distributor?

All of them, if you write songs and release recordings. A distributor collects only the recording’s money from stores and streaming services. A PRO (BMI or ASCAP) collects performance royalties for the song, The MLC collects US streaming mechanicals for the song, and SoundExchange collects digital radio money for the recording. Each one pays only people who signed up with it.

What does it cost to set all of this up?

The core accounts are free: BMI and ASCAP are free for songwriters, The MLC is free, and SoundExchange is free to join (it keeps a 4–6% admin fee). A distributor costs from nothing to about $25 a year. Optional extras: an ASCAP publisher membership ($50 one time if you are already a writer), a BMI publisher ($175 one time as an individual), your own ISRC prefix ($95 one time) and copyright registration ($45 or $65). Prices checked on October 28, 2026.

Is this guide only for the US?

Yes. It covers US organizations and US law. Some steps, like PRO registration and SoundExchange’s international option, also bring in money from other countries.

Do I have to join the waitlist to read it?

No. The whole guide is free and public. People on the waitlist hear first when a chapter is updated or a new one is added.

This guide is general information, not legal or tax advice. For a big deal, such as a sync offer, a label contract or selling a catalogue, pay a music lawyer for an hour.