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How to Register With The MLC (Step by Step)

Is there a fee at any step of the MLC signup process?

No. There is no charge at any point in MLC registration — no signup fee, no annual dues for songwriters or publishers, and no commission taken out of the royalties The MLC distributes to you. The MLC is funded by the digital services under the Music Modernization Act, which is why the whole process is free at the point of use. If something is charging you to register works with The MLC, it is a publishing administrator selling you the paperwork, not The MLC.

do i need the mlc if i already have distrokid

Standard DistroKid distribution collects sound recording royalties only, so yes — the mechanical royalty on your composition is a different pot with a different collector. The exception is the paid DistroKid Publishing add-on, which collects global digital mechanicals on your behalf and registers works itself. If you bought that add-on, registering the same works directly at The MLC creates two claimants and stalls payment for both.

What is the minimum payout at The MLC?

For United States members it is $5 by ACH direct deposit, $100 by physical check and $250 by wire transfer. Non-US members face $100 for a local bank transfer or check and $250 by wire. Setting ACH is the single most consequential switch in the account, because a small catalog will cross $5 long before it crosses $100.

Once I finish registering, when does the first MLC payment arrive?

Not for a few months. The MLC distributes about 75 days after the end of each monthly usage period, so January usage reaches members in mid-April and February usage in mid-May — and the clock only starts on usage from the point your works are matched, apart from anything you recover through the claiming process. Expect nothing at all in a month where your balance is under the payout minimum for your chosen payment method.

Should I register as a writer or as a publisher at The MLC?

If you write and control your own songs with no publishing deal, register as a Self-Administered Songwriter, which lets one account hold both the writer and publisher shares of your works. Choose the Publisher or Administrator member type only if you administer compositions written by other people. Picking the wrong type is fixable but slow, so read the two definitions before clicking.

Do I need to be with ASCAP or BMI before joining The MLC?

No, but do it in that order anyway. The MLC and ASCAP or BMI are separate systems collecting separate royalties, and neither requires the other. Registering at ASCAP or BMI first gives you an IPI/CAE number and a publisher entity name to enter at The MLC, so you fill in complete records the first time instead of going back.

What is an ISWC and do I need one to register a work?

An ISWC is the International Standard Musical Work Code, the unique identifier for a composition, and an ISRC is the equivalent for a specific sound recording. You do not need an ISWC to register a work at The MLC — it is assigned to the composition through the registration chain — but you should add every ISRC you have, because matching your composition to the recordings that generate the streams is what turns a registration into a payment.

Can I register songs I released years ago?

Yes, and you should. The MLC holds unmatched royalties for compositions it cannot connect to a claimant, and registering a back catalog is how you connect to them. Search the public MLC database for your titles first, because a distributor or administrator may already have registered some of them on your behalf.

does the mlc collect royalties outside the us

No. The MLC administers the blanket mechanical licence for the United States only, under Section 115 of the Copyright Act. Foreign mechanical royalties are collected by societies in each territory, which is the specific gap a publishing administrator such as Songtrust, DistroKid Publishing or CD Baby's publishing product is built to fill.

What happens if my splits do not match my co-writer's registration?

The work sits unmatched and nobody gets paid on the disputed portion. The MLC compares the shares claimed by every party on a composition, and if the total exceeds 100% or the parties disagree, the conflicting share is held. Agree the split in writing before anyone registers, and enter identical numbers at The MLC and at ASCAP or BMI.

Full explanation: How to Register With The MLC (Step by Step)

How to Register With ASCAP or BMI (Step by Step)

Which is cheaper to join, ASCAP or BMI?

BMI, on the writer side. BMI charges songwriters and composers nothing to affiliate and states that although some performing rights organizations collect annual dues, BMI does not. ASCAP charges a $50 one-time processing fee for a writer membership. The order reverses on the publisher side, where ASCAP is $50 and BMI is $175 for an individual publisher.

Do I need a publishing company to register with BMI?

No. BMI's own FAQ states that a new songwriter will not need to set up a publishing company and that creating a publishing company will not mean that you receive more royalties. Affiliate as a writer, which at BMI is free, and revisit the $175 individual publisher fee when you have an actual reason for a publisher entity.

What happens if I try to register the same song at both ASCAP and BMI?

You cannot, because you affiliate as a writer with one performing rights organization and your songwriter registrations live there. Switching later means giving notice inside a resignation window, waiting out the affiliation term and re-registering your catalog at the new organization, which is why the choice is worth ten minutes of thought before you fill in either application. Co-writers can be at different organizations — a song with one ASCAP writer and one BMI writer is completely normal and both halves get paid.

When does ASCAP or BMI issue my IPI number?

When your affiliation is approved, not when you apply — the IPI number, also called a CAE number, is assigned to you as a writer or publisher in the international rights database and then appears on your ASCAP or BMI member dashboard. Wait for it before you register works at The MLC or fill in split sheets, because every one of those forms asks for it and a registration filed without it is harder to match later.

how long does it take for ascap or bmi to approve you

Both process applications in a matter of days to a few weeks rather than months, and you generally cannot register works until the affiliation is approved and your member number is issued. Apply before your release rather than on release week, because performance royalties accrue from first public performance and being registered in advance is materially easier than claiming backwards.

Do I have to register every song separately?

Yes. Joining ASCAP or BMI creates your account; registering a work tells them a specific song exists, who wrote it and what the splits are. An active affiliation with zero registered works collects nothing forever, and this is the step beginners skip most often.

Does registering with ASCAP or BMI cover my mechanical royalties?

No. ASCAP and BMI collect the public performance royalty on the composition only. United States mechanical royalties on the composition are collected by The MLC, which is free to join, and sound recording royalties come from your distributor. Registering with one does not register you with the other.

Can I join SESAC or GMR instead?

You cannot apply to either. SESAC and Global Music Rights are both invitation-only, so the practical choice for an independent artist in the United States is ASCAP or BMI. Comparison articles that present four options make the decision look bigger than it is.

What happens to my registrations if I switch PROs later?

They do not travel automatically. You give notice within your resignation window, wait out the affiliation term, and then re-register your entire catalog at the new organization, accepting some administrative drag on payments during the crossover. This is a project rather than a click, which is why switching is much easier with twenty registered works than with two hundred.

Do ASCAP and BMI collect my foreign performance royalties?

Indirectly, yes. ASCAP and BMI hold reciprocal agreements with foreign societies including PRS for Music, SOCAN, GEMA, SACEM and APRA AMCOS, which collect in their territories and remit to your US organization. You affiliate with one performing rights organization worldwide for your writer share, not one per country.

Full explanation: How to Register With ASCAP or BMI (Step by Step)

How to Register With SoundExchange (Step by Step)

Is SoundExchange free to join?

Yes. SoundExchange states on its own registration page that "Registering is free, simple, and fast." There is no signup fee and no annual membership charge to register as a featured artist or as a sound recording copyright owner. SoundExchange retains an administrative cost from the royalty pool rather than billing members directly.

What does SoundExchange actually pay for?

The digital performance royalty on the sound recording, generated when your recording is played on non-interactive digital services — SiriusXM satellite radio, Pandora's radio mode, and internet radio and webcasters operating under the statutory licence. It is a recording-side royalty, not a composition royalty, which is why it does not overlap with ASCAP, BMI or The MLC.

Do I register as an artist or as a copyright owner?

If you self-release, register as both. The featured artist role and the sound recording copyright owner role are paid separately under 17 U.S.C. 114 — 45% of the statutory royalty to the featured artist and 50% to the copyright owner — and an independent artist who owns their own masters is entitled to both halves. Registering only as an artist leaves the larger half unclaimed.

If my distributor already delivers my music, do I still have to register with SoundExchange myself?

Yes. Standard DistroKid, TuneCore and CD Baby distribution neither registers you with SoundExchange nor collects SoundExchange royalties, so the registration is on you. Distribution covers on-demand streaming and downloads; SoundExchange covers non-interactive digital radio under a separate statutory licence, and registering with SoundExchange is free. Some paid add-ons register you with SoundExchange as part of a bundle, so read what your plan includes before registering twice.

Will the SoundExchange signup tell me a minimum I have to earn before I get paid?

No, and nothing else on the public side will either — SoundExchange does not publish a payout threshold on its registration page. Do not plan against a figure you have seen quoted in a forum or a blog post, because it is not coming from SoundExchange. If the number matters to your planning, ask SoundExchange directly through the member account you create during registration.

Can I claim royalties for songs I released years ago?

Yes. SoundExchange holds royalties for recordings whose artists and copyright owners it has not been able to identify, and it publishes a searchable list of names it is trying to reach. Search your artist name, any former band names, and any alias you have released under before you assume there is nothing there.

Does SoundExchange collect from Spotify and Apple Music?

No, not for on-demand listening. Spotify and Apple Music are interactive services, and their sound recording royalties are paid through your distributor. SoundExchange administers the statutory licence for non-interactive services, which is a different licence covering a different kind of listening.

Do I need SoundExchange if I already have ASCAP or BMI and The MLC?

Yes, because none of them overlap. ASCAP and BMI collect performance royalties on the composition, The MLC collects United States mechanical royalties on the composition, your distributor collects sound recording royalties from on-demand streaming, and SoundExchange collects digital performance royalties on the sound recording. Four collectors, four jobs.

What is an ISRC and why does SoundExchange want it?

An ISRC is the International Standard Recording Code, a unique identifier for a specific sound recording, assigned by your distributor when you release. SoundExchange matches airplay reports from SiriusXM, Pandora and webcasters against ISRCs, so submitting your repertoire without them makes your recordings much harder to match to the plays they generated.

what about the 5 percent for backing musicians

Under 17 U.S.C. 114, 5% of the statutory royalty goes to non-featured performers — session musicians and background vocalists — and is administered by the AFM and SAG-AFTRA Intellectual Property Rights Distribution Fund rather than paid by SoundExchange to you. If you played on other people's records as a session musician, that fund is a separate place to check.

Full explanation: How to Register With SoundExchange (Step by Step)

How to Register a Song With the US Copyright Office (Step by Step)

Do I have to register to own the copyright in my song?

No. Copyright attaches automatically the moment a work is fixed in a tangible form, so you own your song when you bounce the file. Registration with the US Copyright Office is what lets you enforce that ownership in federal court and what unlocks statutory damages and attorney's fees, which is a different question from ownership.

How much does it cost to copyright a song?

As of August 2026, $45 for a Single Application covering one work by one author who is the sole claimant and is not working for hire, and $65 for a Standard Application covering everything else. Group Registration of Works on an Album of Music is $65 for an entire album, and Group Registration of Unpublished Works is $85. These are per-application fees, and the eCO account itself is free.

Is it cheaper to register an album than singles?

Dramatically. Twelve tracks filed one at a time under the Single Application cost $45 each, or $540 total. The same twelve tracks filed under Group Registration of Works on an Album of Music cost $65 in a single application. That is a $475 difference produced entirely by choosing a different form for identical protection.

Should I register the composition or the sound recording?

A released song contains two copyrights — the composition, meaning the melody, chords and lyrics, and the sound recording, meaning the specific master you released. If you wrote and recorded the song and you are the sole claimant of both, you can register them together in one application rather than paying twice.

what is the 3 month rule for copyright

Under 17 U.S.C. 412, statutory damages and attorney's fees are unavailable for infringement that begins after first publication and before the effective date of registration, unless the work is registered within three months of first publication. Register inside that window and the remedies stay available for infringement occurring from the moment of release.

How long does copyright registration take to come through?

Processing takes months, and the certificate arrives long after you file. This matters less than people fear, because the effective date of registration is the date the Copyright Office receives a complete submission — application, fee and deposit — not the date the certificate is issued. Your three-month window is measured against the filing, not the approval.

What is a deposit copy?

The copy of the work you upload with the application, which becomes the record of what you registered. For a song released digitally that is normally the audio file, plus a lyric sheet or lead sheet where the claim covers the composition. Upload the exact version you released, not a rough mix, because the deposit defines the scope of what is registered.

Can I copyright songs I released years ago?

Yes, and registration is still worth having for the public record and for the right to sue — but the timing penalty is permanent. What you cannot recover is the three-month window — for a work published years ago, statutory damages and attorney's fees under 17 U.S.C. 412 will not be available for infringement that began before you registered. Register the back catalog anyway, in album-sized groups at $65 a time.

does copyright registration collect royalties for me

No. The US Copyright Office is a legal record, not a collection society. Royalties are collected by ASCAP or BMI for performance on the composition, The MLC for United States mechanicals, SoundExchange for digital performance on the recording, and your distributor for streaming on the master. Copyright registration pays nothing and collects nothing.

Do I need a lawyer to register a copyright?

Not for a straightforward self-released song where you are the author and the sole claimant. The eCO system is designed to be used directly by creators, and the Single Application and Group Registration of Works on an Album of Music forms are built for exactly this situation. A dispute, a work made for hire, or a co-ownership question is where professional advice starts to earn its cost.

Full explanation: How to Register a Song With the US Copyright Office (Step by Step)

How to Fill Out a Split Sheet (With Every Field Explained)

Is a split sheet a legal document?

A signed split sheet is evidence of an agreement between the contributors about who wrote what and in what proportion, which is exactly what you need when three databases and several co-writers have to agree on one set of numbers. It is not a copyright registration and it is not filed with anyone. Its power is that it is contemporaneous, specific and signed.

What do I put in the percentage column if the writers cannot agree on a number?

Nothing, yet. Leave the sheet unsigned rather than writing a placeholder, because a signed sheet with invented numbers is worse than no sheet at all. The percentage column is the one field on a split sheet that cannot be fixed later without every contributor agreeing again, and the arithmetic has to land on exactly 100% before anyone signs — ASCAP, BMI and The MLC all reject a work claimed at 95% or 105%. If the room genuinely cannot settle it, the common default is an equal split between everyone who contributed to the writing, written down and signed the same day.

What if a contributor has no PRO affiliation yet?

Write "none — to be confirmed" in the PRO and IPI fields, record their legal name and contact details in full, and note the share. Their share is agreed regardless; what is missing is the account that collects it. Chase the affiliation before you register the work, because a work registered against an unaffiliated writer leaves that share uncollected.

Does the producer get a share of the song?

It depends entirely on what the producer contributed and what you agreed, and the split sheet is where that agreement gets written down. A producer who wrote chords, melody or lyrics is a co-writer of the composition. A producer who only engineered and mixed contributed to the recording, not the composition, and the split sheet should say so rather than leaving it implied.

how do i fill in a split sheet when i am the only writer

Put your legal name, your ASCAP or BMI affiliation and your IPI number in the writer row, write 100% in the share column, then date and sign it. A one-line sheet stating that you are the sole writer at 100% takes ten seconds and gives you a dated record if authorship is ever questioned. Fill in the recording contributors properly too — a featured vocalist, an instrumentalist or a producer is where a sole-writer assumption usually turns out to be wrong.

Where do I find my IPI or CAE number?

On your ASCAP or BMI member dashboard, once your affiliation is approved. It is the unique identifier that distinguishes you from every other writer with a similar name across international rights databases, and it is the field co-writers most often leave blank on a split sheet and then have to chase weeks later.

Is the split sheet the same as the master ownership?

No, and conflating them is a common and expensive mistake. The split sheet percentages describe the composition — the song. Ownership of the sound recording is a separate question with a separate answer, and it should be recorded in its own clearly labelled section rather than assumed to follow the writing split.

What happens if my split sheet does not match what my co-writer registered?

The disputed share is held and nobody is paid on it. ASCAP, BMI and The MLC each compare the shares claimed by every party on a composition, and conflicting claims freeze the overlap until the parties agree. This is why the same numbers must be entered at your PRO, at The MLC and by every co-writer separately.

When should the ISRC and ISWC go on the sheet?

As soon as they exist. The ISRC is assigned by DistroKid, TuneCore or CD Baby when you release the recording, and the ISWC is assigned to the composition through the registration chain at ASCAP, BMI or The MLC. Adding both to the sheet afterwards turns it into a complete record of one song across every system.

Can we do a split sheet by email instead of on paper?

An email thread where everyone states and confirms the same percentages is far better than nothing and is genuinely useful evidence. A signed sheet with all the fields filled in is better still, because it captures the IPI numbers, publisher entities and contact details you will need at registration, which an email agreeing on percentages usually does not.

Full explanation: How to Fill Out a Split Sheet (With Every Field Explained)

The Independent Release Checklist: What to Do Before, On, and After Release Day

How far in advance should I upload to my distributor?

At least four weeks before the release date. Distribution to every store takes time, artwork and metadata get reviewed, and editorial playlist consideration needs lead time — Spotify asks that unreleased tracks be pitched through Spotify for Artists at least seven days ahead. Uploading three days before release does technically work and forfeits everything that needs notice.

Should I register my song before or after release?

Before. Performance royalties accrue from first public performance, and claiming backwards through ASCAP or BMI is slower and more limited than being registered on day one. The MLC and SoundExchange are the same story — registered in advance means the first usage reports match, rather than sitting unmatched until you catch up.

what do i do on release day

Verify rather than promote. Check the release actually appeared on Spotify, Apple Music, Amazon Music, YouTube Music, Tidal and Deezer, check the artist name and credits are right on each, confirm the ISRC in your distributor dashboard matches what the stores show, and make sure the track is on the correct artist profile rather than a duplicate one.

Do I need to register a copyright for every single I release?

Not necessarily one at a time, because that is the expensive way. A Single Application is $45 and covers one work by one author who is the sole claimant, while Group Registration of Works on an Album of Music is $65 for an album's worth of tracks. Weigh grouping against the three-month statutory damages window under 17 U.S.C. 412.

How long until I see money from a release?

Distributor royalties from Spotify and Apple Music arrive on each platform's monthly reporting cycle. The MLC pays about 75 days after the end of each monthly usage period, so a September release produces its first mechanical statement around mid-December. ASCAP and BMI distribute quarterly with a further lag. Judging a release's income inside three months is judging an incomplete picture.

My song is on Spotify but not on my artist profile — what happened?

The release was not linked to your existing Spotify artist ID, usually because the distributor created a new profile for a slightly different artist name spelling. Claim the profile through Spotify for Artists and request a merge; the same problem and the same fix exist at Apple Music for Artists. Fix it in the first week, before playlist adds and follows accumulate on the wrong profile.

Do I need to do all of this for every release?

The accounts are one-time. Per release, you need a signed split sheet, work registration at ASCAP or BMI, work registration at The MLC, a repertoire addition at SoundExchange, a distributor upload, and a copyright decision. That is roughly forty minutes once the accounts exist, and it does not get longer as your catalog grows.

What is the most commonly skipped step on a release checklist?

Registering the work at The MLC, because most artists assume their distributor covers it. Standard DistroKid, TuneCore and CD Baby distribution collects sound recording royalties only; United States mechanical royalties on the composition are collected by The MLC, which is free to join and which nobody registers you with automatically.

Where do I find the ISRC for my release?

In your distributor dashboard — DistroKid, TuneCore and CD Baby all assign an ISRC to each recording and display it on the release page. Copy it into your split sheet, your MLC work registration and your SoundExchange repertoire submission, because it is the identifier those systems match usage against.

Is it too late if I already released without registering anything?

No. Register the works now at ASCAP or BMI, at The MLC and at SoundExchange, and search The MLC's public database and SoundExchange's unclaimed list for royalties already held against your titles. What you cannot recover retroactively is the three-month copyright registration window under 17 U.S.C. 412 for works published more than three months ago.

Full explanation: The Independent Release Checklist: What to Do Before, On, and After Release Day

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