Reggae Music Publishing Guide
A comprehensive resource for Reggae & Dancehall artistes to understand their rights, protect their work, collect their royalties, and build a sustainable career rooted in ownership.
"We must become bigger than we have been."
– Haile Selassie
Publishing is how artists become bigger than the moment.
The Basics & Terms
Copyrights 101 and defining key terms like ISRC, ISWC, IPI, and UPC.
Writer vs. Publisher
Why you need to register as both to collect 100% of your performance royalties.
Royalties & Radio
Streaming rates, satellite vs. broadcast radio, and how you get paid.
Cover Songs
How to legally release a cover song and what you own (and don't own).
Sync & Live
Getting your music in TV/Film and collecting royalties for your live shows.
Registration
Step-by-step on where to sign up: PROs, The MLC, SoundExchange, and Songview.
Riddim Splits
How to properly credit and split royalties when multiple artists use the same riddim, including "recuts".
Understanding Music Sampling
Navigating the legalities and best practices for incorporating samples into your music.
The Basics & Key Terms
The Two Copyrights
1. The Composition (Song)
This is the melody and lyrics. In Reggae, this often involves the "Riddim" creator and the "Voicing" artist.
- Owned by: Songwriters & Publishers
- Collected by: PROs & MLC
- Identified by: ISWC
2. The Sound Recording (Master)
This is the actual audio recording of the song (the .wav or .mp3 file).
- Owned by: Artist or Record Label
- Collected by: Distributor & SoundExchange
- Identified by: ISRC
Acronyms Defined
The "license plate" for your specific recording. Assigned by your distributor (Tunecore, Distrokid, etc.) when you upload a song.
The "license plate" for the composition (lyrics & melody). Assigned by your PRO (ASCAP/BMI) when you register the song.
Your unique ID number as a songwriter or publisher. You get this when you join a PRO. You'll have one IPI as a writer and a different IPI as a publisher.
The barcode for the product (Single, EP, or Album). Assigned by your distributor.
🔐 Why You Should Own Your ISRC & UPC Codes
Most distributors (DistroKid, Tunecore, CD Baby) will assign you free ISRC and UPC codes when you release music. However, they own these codes, not you.
The Risk:
If your distributor goes out of business, gets sold, or bans your account, you could lose your catalog data. Moving your catalog to a new distributor becomes a nightmare because you don't control the original identifiers.
To fully own your masters and ensure your catalog survives any distributor changes, you can purchase your own codes directly. This attaches the data to YOU as the registrant, forever.
Writer vs. Publisher Share
Many artists miss out on 50% of their performance royalties because they only register as a writer. Every song's performance royalty is split into two equal halves:
If you are an independent artist, you are your own publisher. This means you need to register a "Vanity Publishing Company" with your PRO (e.g., "My Name Music Publishing") to collect that second 50%.
⚠️ If you only register as a writer with ASCAP, they will hold the publisher share (the other 50%) until a publisher claims it. BMI operates slightly differently but registering both is always best practice to ensure you collect 100% of your money.
Royalties & Radio
Streaming Royalties
When your song is streamed on Spotify, Apple Music, or Tidal (Interactive Streaming), it generates three types of payments:
- Master Royalty: Paid to distributor/label (Standard streaming rate, approx $0.003-$0.005 per stream).
- Performance Royalty: Paid to PRO (ASCAP/BMI) for the public performance of the composition.
- Mechanical Royalty: Paid to The MLC (in the US) for the reproduction of the composition.
Radio Types & Rates
Broadcast Radio (AM/FM)
In the US, terrestrial radio only pays songwriters/publishers (via PROs). They do NOT pay artists or labels for the master recording. This is unique to US law.
Non-Interactive / Satellite (SiriusXM, Pandora)
These platforms pay BOTH writers (PROs) and artists (SoundExchange). This is why registering with SoundExchange is critical.
Podcast Intros
Using a song as a podcast theme is considered a Sync placement, not just a mechanical license. It usually requires a direct license negotiation with the rights holders.
Cover Songs
How to Legally Release a Cover
A cover song is a new recording of an existing composition. You own your new master recording, but you do not own the composition.
1. Get a Mechanical License
For streaming (Spotify/Apple), the platforms handle this payment in the US. For downloads (iTunes/Bandcamp) or physical CDs, YOU are responsible for paying the mechanical royalty (9.1 cents per copy in the US). Distributors like Distrokid or Tunecore can handle this for a fee (e.g., Distrokid's Cover Song licensor).
2. What You Earn
You earn money from the Master side only (streaming/sales). You generally do NOT earn performance or mechanical royalties, as those go to the original songwriter.
3. YouTube / Video
A mechanical license does NOT cover video (Sync). Technically, you need a sync license to put a cover on YouTube, but in practice, Content ID usually claims the video and pays the original publisher while letting your video stay up (monetization goes to them).
Sync & Live Performance
Sync Licensing
"Sync" means synchronizing music with visual media (TV, Film, Ads, Games).
- Upfront Fee: Negotiated amount paid to use the track.
- Backend Royalties: Performance royalties earned when the show/ad airs on TV.
- One-Stop: If you own both Master and Publishing (common for indie artists), you are "One-Stop," making you much easier to license.
Live Performance Royalties
Venues pay blanket licenses to PROs to host live music. You can claim a portion of this money!
How to collect:
Log into your PRO portal (ASCAP OnStage or BMI Live) and submit your Setlists after every show. List the venue, date, and songs performed. This pays out quarterly and covers both headliners and support acts.
Where to Register
Join a PRO (as Writer AND Publisher)
US: ASCAP or BMI. UK: PRS. Jamaica: JACAP. For artists in other countries, find your local PRO below. Remember to register a vanity publishing entity to collect your publisher share.
Register with The MLC
For mechanical royalties from US streams. Essential for self-published artists.
Register with SoundExchange
For digital radio performance royalties (SiriusXM, Pandora, Webcaster). Pays the Artist and Copyright Owner (Master side).
Check Songview
Songview is a data platform by ASCAP and BMI. After registering your songs, search for them on Songview to ensure the splits and ownership info are displaying correctly across both databases.
Find Your Local PRO
Search by country or organization name to find the right society for you.
Not sure where to start?
Use our interactive wizard to get a personalized checklist of exactly which organizations you need to join based on your location and role in the music.
We'll use this to find your local collection societies.
Riddim Splits
In Reggae and Dancehall, it is common for a producer to create a "Riddim" and multiple artists to voice on it.
The Fair Split (50/50 Co-Publishing):
The standard and most equitable way to handle splits is to divide the ownership 50/50 between the music creator (Producer) and the lyricist/melody creator (Artist). This applies to both the Writer's Share and the Publisher's Share.
Writer's Share (50% of Total)
- Artist (Lyrics): 25%
- Producer (Music): 25%
Publisher's Share (50% of Total)
- Artist's Pub Co: 25%
- Producer's Pub Co: 25%
* In this scenario, both the Artist and Producer end up with 50% ownership of the song.
⚠️ Always sign a "Split Sheet" before releasing a song. This simple document confirms who owns what percentage of the song.
Understanding Music Sampling
What is Sampling?
Sampling is the act of taking a portion (or "sample") of one sound recording and reusing it in a new song or musical composition. This can range from a small drum loop to a recognizable melody.
The Legal Minefield:
Unlike replaying a song or recutting a riddim (which are covered by mechanical licenses and licensing fees), sampling involves using an existing *sound recording*, which comes with more restrictions.
- Clearance is Key: To legally use a sample, you *must* get permission (a license) from *both* the copyright owner of the *sound recording* AND the copyright owner of the *underlying composition* (the song itself). This usually means contacting the record label *and* the publisher.
- De Minimis Use?: The "de minimis" defense (meaning the use is so insignificant that it doesn't require permission) *rarely* works with sampling. Any recognizable sample, even a very short one, is likely to be considered infringement.
- Consequences of Not Clearing: Lawsuits, takedown notices from streaming services, and potential loss of all royalties.
How to Clear a Sample:
- Identify the Rights Holders: Use resources like WhoSampled to identify the original song, artist, label, and publisher.
- Contact the Label & Publisher: Reach out to both parties, explaining how you intend to use the sample. Be prepared to provide details about your song, its potential commercial use, and the length of the sample.
- Negotiate a License: This usually involves an up-front fee, and/or a percentage of royalties from your new song. The more recognizable the sample, the more expensive the license.
- Get it in Writing: Make sure the license agreement is in writing and clearly outlines the terms of use, payment, and territory.
Tips for Reggae/Dancehall Artists:
- Consider Alternatives: If you can't afford to clear a sample, consider replaying the part yourself, using a similar-sounding sample that's royalty-free, or creating something entirely original.
- Budget Accordingly: If sampling is integral to your sound, factor sample clearance costs into your budget.
- Be Respectful: When contacting rights holders, be polite, professional, and acknowledge the original artist's work.
- Document Everything: Keep records of all communication, license agreements, and payments related to sample clearance.