More than one kind of payment
Music royalties can come from different rights, not just one source. Copyright law treats musical works, including any accompanying words, and sound recordings as separate categories, and a sound recording is the fixed series of sounds itself. For a plain-language overview, see publishing and master rights and track credits.
That difference matters because the person who owns or controls the composition may be paid differently from the person who controls the recording. If you are trying to sort out who is involved, our FAQ is a good starting point.
Digital mechanicals in the United States
For US digital mechanicals, the Mechanical Licensing Collective administers blanket mechanical licenses for eligible streaming and download services, collects royalties due under those licenses, and pays its members. We are not that organization, and this page does not replace its guidance. For more on who may be involved, see who pays royalties.
If you need the official process for a specific service or catalog, start with the organization that handles the license rather than guessing from a summary page.
No amount on this page
There is no single royalty amount that fits every song or every use. Payments can change based on the right involved, the license, and the service or platform. We do not quote a royalty amount here, and we do not promise any payment outcome.
If you need a number, use the source that actually pays or administers the royalty instead of relying on a general guide.
Write the shares first
Before money moves, the shares should be written down in a split sheet. That makes it easier to see who owns what part of the song and who should be paid for each right.
After the split is clear, talk to the organization that pays or administers the royalty. If the credits are still being settled, review the track credits and then confirm the payment path with the relevant administrator.
Not legal advice. Splitline does not grant a license, clear a sample, or pay royalties.