How to Get Paid · Chapter 08 of 9
Common money leaks
Fourteen ways bands lose money they’ve already earned. Most take one form to fix.
Facts last checked
-
Only the distributor is set up.
That collects recording money only. Without a PRO and The MLC, the song money is never paid to you.
-
ASCAP writer with no publisher membership.
The publisher half of every performance dollar isn’t paid, and ASCAP doesn’t save it.
Add an ASCAP publisher membership: $50 one time. The publisher share.
-
Joined a PRO but never registered the songs.
Joining isn’t enough. Each song has to be registered with its splits.
Register every song with every writer and share.
-
Not registered at The MLC.
Unclaimed US mechanicals are held for at least three years, then paid out to publishers by market share. The MLC plans its first payout like that for April 2027, covering January 2021 streams.
Join The MLC and register every song, the same split as at your PRO.
-
Not registered at SoundExchange.
Unclaimed SoundExchange royalties expire after three years.
Register each performer and the rights owner at SoundExchange.
-
Splits only exist in someone’s head.
The distributor pays the uploader 100%, and someone has to pass money on by hand.
Set splits in the distributor so each person is paid directly.
-
Different numbers in different places.
40 / 30 / 30 at BMI but 50 / 25 / 25 at The MLC causes conflicts and frozen payments.
Use the split sheet everywhere.
-
Messy metadata.
Writer names spelled differently, missing IPIs, “feat.” in the song title instead of the artist field, or ten tracks with the same title. Each makes it harder to match plays to you.
Use legal names and IPIs exactly as your PRO has them.
-
Changing ISRCs when you switch distributors.
You lose play counts and playlist history.
Deliver the release with the same ISRCs and UPC.
-
Your distributor stops getting paid.
On some services, every release comes down when the subscription lapses.
Check what happens when you stop paying before you choose. See distributors compared.
-
Cheques instead of direct deposit.
Small balances sit unpaid for years waiting to reach a cheque threshold.
Choose direct deposit everywhere: BMI pays from $2, ASCAP from $1, The MLC from $5.
-
Registering a cover as your own song.
Covers need a mechanical licence, and the song belongs to its original writers.
Get a mechanical licence (many distributors sell one). Public-domain songs, like “Amazing Grace”, are free to record.
-
Turning on Content ID for things you don’t exclusively own.
Samples, public-domain recordings and library loops. YouTube requires exclusive rights, and wrong claims lead to disputes with the real owners.
Turn on Content ID only for tracks you exclusively own.
-
Two people claiming the same song.
A publishing administrator and the writer both register the same song at The MLC.
Pick one path per writer: the administrator or yourself.
Ready to close them? The checklist puts every account in order, with what it costs.
Questions
What is the most common way bands lose royalties?
Setting up only a distributor. That collects the recording’s money. Without a PRO and The MLC, the song’s performance royalties and mechanicals are never paid to the writers.
Why is my ASCAP money only half of what I expected?
If you joined ASCAP as a writer only, the publisher half of every performance dollar is not paid to you, and ASCAP does not hold it. Adding an ASCAP publisher membership costs $50 one time.
Do unclaimed royalties expire?
Some do. Unclaimed SoundExchange royalties expire after three years. Unmatched US mechanicals at The MLC are held for at least three years and then paid out to publishers by market share, starting with a planned April 2027 payout.
Can I turn on Content ID for any track?
Only for tracks you exclusively own. YouTube requires exclusive rights, so samples, public-domain recordings and library loops lead to disputes with the real owners.
Sources
Official pages, all checked on October 28, 2026.
This guide is general information, not legal or tax advice. Fees and rules change: check the official site on the day you sign up. For a big deal, such as a sync offer, a label contract or selling a catalogue, pay a music lawyer for an hour.