Best Royalty Collection Services for Independent Artists in 2026

The MLC currently holds over $400 million in unmatched mechanical royalties. SoundExchange has paid out over $9 billion since 2003, but still processes significant unclaimed funds every year. If you have music on streaming platforms and you have never heard of either organization, you are almost certainly leaving money on the table right now.

Your music distributor collects your master recording streaming royalties. That is one piece of the picture. There are at least four other categories of royalties your music is generating right now, sitting in accounts you have not claimed, waiting for you to register.

This guide covers every royalty collection service that matters for independent artists, what each one actually collects, what it costs, and exactly how to sign up.

Quick-Reference Comparison Table

What You Will Learn

• The five categories of royalties your music generates
• Which organization collects each type
• What each service costs and how to register
• Which royalties most independent artists miss
• Publishing administration options and when you need one
• New 2026 services: Royalti.io and Lyric Financial
• How much unclaimed royalties could be worth for your catalog

The Five Royalty Streams Every Songwriter Should Know

Before getting into specific services, it helps to understand the five distinct royalty streams that your music generates. Each requires a separate collection mechanism.

1. Master streaming royalties: Paid when your recorded track is streamed on Spotify, Apple Music, or any DSP. Collected by your distributor (DistroKid (7% off), TuneCore, CD Baby, etc.). This is the one most artists know about.

2. Performance royalties (compositions): Paid when your composition is performed publicly, including on streaming platforms, radio, in bars and restaurants, on TV, and at live venues. Collected by your PRO (ASCAP, BMI, SESAC, or GMR in the US).

3. Mechanical royalties (compositions): Paid when someone reproduces your composition, including through interactive streaming. In the US, collected by the MLC (Mechanical Licensing Collective). In other countries, collected by CMOs (collective management organizations).

4. Digital performance royalties (master recordings): Paid when your master recording is played on non-interactive services like satellite radio (SiriusXM), internet radio (Pandora), and webcasting. Collected by SoundExchange in the US.

5. International performance and mechanical royalties: Your composition generates performance and mechanical royalties in every country where it is played. Collecting from CMOs in 200+ countries requires either a local PRO affiliation or a publishing administrator.

Understanding which organization collects which royalty is the foundation for setting up a complete collection system. Our music aggregators vs distributors guide explains the difference between these organizations in more depth.

Performing Rights Organizations (PROs): ASCAP, BMI, SESAC, and GMR

A PRO collects performance royalties on behalf of songwriters and publishers when your composition is performed or played publicly. In the US, there are now four major PROs.

ASCAP:

• Cost: Free for songwriters (the $50 fee has been suspended since February 2023). $50 one-time for publishers (waived if joining as writer and publisher together).
• Annual distribution: ASCAP distributed over $1.759 billion to members in 2025.
• Collection: Collects from radio, TV, streaming, live performance venues, and more.
• Structure: Member-owned nonprofit. Approximately 90 cents per dollar goes to members.
• Register at: ascap.com

BMI:

• Cost: Free for songwriters. $175 one-time for individual publishers, $250 for corporations or LLCs.
• Annual distribution: BMI distributed approximately $1.5 billion to affiliates in 2025.
• Collection: Covers the same sources as ASCAP.
• Structure: For-profit since 2024, owned by New Mountain Capital (acquired November 2023, deal closed Q1 2024). Stated target: 85% of revenue distributed to affiliates.
• Register at: bmi.com

SESAC: A third US PRO that operates by invitation. It has a smaller membership than ASCAP or BMI and a more selective admission process. Most independent artists start with ASCAP or BMI.

GMR (Global Music Rights): The fourth US PRO, founded in 2013. Also invitation-only, representing a curated roster of prominent songwriters. Not accessible to most independent artists starting out.

Which to choose: The difference in royalties collected between ASCAP and BMI is minor in most cases. BMI is free for songwriters and slightly easier to set up. ASCAP has a member-owned structure and slightly higher payout ratio. Both are legitimate and well-run organizations. You register with one, not both. You cannot be a member of both ASCAP and BMI simultaneously in the same writer/publisher capacity.

Important: Register as both a writer and a publisher on whichever PRO you join. Writers collect the writer's share of performance royalties. Publishers collect the publisher's share. As an independent artist who publishes their own work, you are entitled to both shares. If you only register as a writer, you will miss the publisher's share, which is 50% of the performance royalty.

For a detailed step-by-step guide to PRO registration, see our PRO registration guide.

The MLC: Mechanical Royalties From US Streaming

The Mechanical Licensing Collective (MLC) was established under the Music Modernization Act of 2018 and began operations in 2021. It collects mechanical royalties from interactive streaming services in the United States, including Spotify and Apple Music.

Every time someone streams your song on an interactive platform, a mechanical royalty is generated for the composition. Before the MLC, collecting these from US streaming was complicated. The MLC now handles this centrally.

Cost: Free. Registration and collection are at no cost to you.

What it collects: Mechanical royalties from interactive streaming and digital downloads in the US.

Who should register: Every songwriter who has music on streaming platforms in the US. Even if your music has been streaming for years, you can register now and claim back royalties that have been held pending your registration.

Register at: themlc.com

Registration at the MLC is one of the most important steps many independent artists have not yet taken. If you have been streaming music without an MLC account, unclaimed mechanical royalties may be waiting for you.

SoundExchange: Digital Performance Royalties for Masters

SoundExchange is a non-profit that collects and distributes digital performance royalties for master recordings when they are played on non-interactive streaming platforms. This covers:

• Satellite radio (SiriusXM)
• Internet radio (Pandora, iHeartRadio, and others)
• Cable TV music channels
• Webcasting

SoundExchange pays two parties for each play: the featured artist on the recording (typically 45% of the total payout), and the sound recording copyright owner (typically 50% of the payout). For independent artists who own their own masters, this means you are owed both the artist's share and the copyright owner's share.

Cost: Free to register.

Who should register: Any artist whose music is distributed to platforms covered by SoundExchange, including Pandora, SiriusXM, or any internet radio service. If your music is on streaming platforms and you have never registered with SoundExchange, you are likely owed back royalties.

Register at: soundexchange.com

For more detail on how SoundExchange royalties work and what they typically amount to for independent artists, see our SoundExchange royalties guide.

Publishing Administrators: Collecting International Royalties

Your PRO handles US performance royalties. The MLC handles US mechanical royalties. But your music also generates performance and mechanical royalties in the UK, Germany, France, Japan, Australia, and every other country where people listen to it.

Collecting international royalties requires either being affiliated with a local PRO in each country (impractical for most independent artists) or using a publishing administrator that has reciprocal agreements with CMOs worldwide.

Songtrust

• Setup cost: $100 one-time per songwriter
• Commission: 15% on performance royalties, 20% on non-performance (mechanical) royalties (as of January 2025)
• Coverage: 60+ countries through CMO agreements
• What it collects: International performance and mechanical royalties for your compositions (publisher's share only; writer's share comes from your PRO)
• Best for: Independent artists who want comprehensive international collection without a full music publisher
• Register at: songtrust.com

Songtrust is the default standalone publishing administrator for most independent songwriters. The $100 one-time fee and 15-20% commission structure is the most equitable deal available. Songtrust does not take sync rights, so you keep 100% of any upfront sync fees you negotiate.

TuneCore Publishing

• Setup cost: $75 one-time per writer
• Commission: 20% on royalties collected, 50% on sync earnings
• Coverage: International collection through TuneCore's CMO agreements
• What it collects: International mechanical and performance royalties (publisher's share)
• Best for: Artists already using TuneCore for distribution who want to keep everything in one place
• Register at: tunecore.com

TuneCore Publishing is included in the Breakout Artist ($44.99/yr) and Professional ($54.99/yr) distribution plans, or available standalone for $75 one-time. The 20% commission is higher than Songtrust's 15% for performance royalties, but the convenience of having distribution and publishing in one dashboard appeals to many artists.

CD Baby Pro Publishing (DISCONTINUED) / CDB Boost

• Important: CD Baby Pro Publishing was discontinued on August 8, 2023. Existing Pro Publishing releases continue to receive services as "Legacy Pro releases."
• Replacement: CDB Boost costs $39.99 per release when you submit a release via CD Baby.
• What CDB Boost collects: Publishing royalties, YouTube monetization, and recording-based royalties
• Best for: Artists using CD Baby for distribution who want publishing admin bundled with distribution
• Register at: cdbaby.com

If you were a CD Baby Pro Publishing user, your legacy releases automatically get CDB Boost at no extra cost. For new releases, you add CDB Boost for $39.99 per release during the submission process.

DistroKid Music Publishing

• Cost: $99.95 one-time (pricing may vary by account; check your DistroKid dashboard for the current offer)
• Commission: Approximately 20% (community reports suggest an 80% royalty share to the artist, but confirm the exact split in your DistroKid account)
• Coverage: International CMO collection
• What it collects: International mechanical and performance royalties
• Best for: DistroKid (7% off) users who want publishing admin without leaving the platform. Students can use the DistroKid student plan (50% off) for distribution.
• Register at: Available as an add-on in your DistroKid dashboard

DistroKid's publishing add-on is convenient for existing DistroKid users. The one-time fee means no recurring costs, but the exact pricing and royalty split may vary by account. Always confirm the current offer inside your DistroKid dashboard before purchasing.

Sentric Music

• Setup cost: Free signup, no upfront fee
• Commission: 10-20% of royalties collected (varies by agreement; some sources report 20%)
• Coverage: Strong UK and EU collection via PRS reciprocal networks; global through sub-publishers
• What it collects: International performance and mechanical royalties
• Best for: UK and European writers who want a UK-based administrator with no upfront cost
• Note: Sentric was acquired by Believe/TuneCore in March 2023. In October 2025, Believe launched Believe Music Publishing, building on Sentric's infrastructure with 160 publishing experts across multiple markets.
• Register at: sentricmusic.com

Kobalt

• Cost: Custom (catalog review required)
• Commission: Custom (typically lower than 15% at scale)
• Access: Invitation only, established catalog required
• Best for: Established songwriters with active income and significant catalogs

Kobalt operates at the established-catalog tier and is rarely accessible to brand-new writers. It is worth knowing about as your catalog grows, but it is not a starting point for most independent artists.

New 2026 Services

Royalti.io (AI-Powered Royalty Management)

Royalti.io is an AI-powered royalty management platform launched for labels and advanced independent artists. It is not a collection service in the traditional sense. Instead, it helps you manage, analyze, and reconcile royalty data from your existing distributors and collection societies.

Key features:

• "Ask Roy" AI assistant that queries your royalty data in plain English
• Ingests statements from 30+ distributor formats with AI column mapping
• 126 tools across 15 categories for catalog management, splits, and analytics
• MCP (Model Context Protocol) server integration with Claude, ChatGPT, and Gemini
• DDEX delivery (ERN/MEAD) to Spotify, Apple Music, and other DSPs
• 16 built-in catalog audit types for identifying missing assets and split gaps

Cost: Subscription-based (check royalti.io for current pricing). MCP Server access is included with any paid subscription.

Best for: Labels and artists with complex royalty splits, multiple distributors, or catalogs large enough to warrant dedicated royalty management software. Not necessary for artists with a single distributor and simple splits.

Lyric Financial (Royalty Advances)

Lyric Financial provides advances against future royalty income. If you have established royalty income from streaming, PRO distributions, or sync placements, Lyric Financial can advance you a lump sum against those future earnings.

How it works: You provide evidence of your royalty income history. Lyric Financial evaluates your catalog and offers an advance based on projected future royalties. You receive the lump sum upfront, and future royalty payments are used to recoup the advance.

Cost: Varies based on catalog size and projected income. The advance is recouped from future royalties.

Best for: Artists with established royalty income who need capital for recording, marketing, or touring. Not suitable for new artists without a track record of royalty earnings.

Neighboring Rights: The Royalty Most Artists Have Never Heard Of

Neighboring rights are performance royalties paid for master recordings (not compositions) when they are played in public spaces in certain countries. They are most commonly associated with European markets.

In the UK, neighboring rights are collected by PPL (Phonographic Performance Limited). In the Netherlands, SENA. In Germany, GVL. These organizations collect royalties when your master recording is played in a shop, bar, restaurant, hotel, or radio station.

As a recording artist who owns your own masters, you are entitled to neighboring rights in these countries. Many independent artists have been streaming in European markets for years without registering for these royalties.

How to collect: You can register directly with PPL, SENA, GVL, and other neighboring rights organizations in each country. Alternatively, some publishing administrators and artist services handle neighboring rights collection on your behalf for a percentage fee.

For more detail on how to access neighboring rights income, see our neighboring rights and international royalties guide.

Which Royalties Each Service Collects

Here is a breakdown of which royalties each type of service collects, so you can identify gaps in your setup:

If you have all of the first four rows covered, you are collecting the vast majority of royalties available to most independent artists. The international and neighboring rights rows become important once you have meaningful streaming or radio activity outside the US.

International Collection Capabilities

No single service collects everything. A complete setup requires your distributor (master royalties), your PRO (US performance), the MLC (US mechanical), SoundExchange (digital performance), and a publishing administrator (international). That is five registrations, but three of them are free.

A Complete Setup Checklist

Here is a complete registration checklist for an independent artist who writes their own songs and owns their own masters:

The first four rows represent royalties you are almost certainly generating right now and should be collecting. The last two rows are worth setting up once you have confirmed you have meaningful international streaming.

How Much Are You Missing?

To estimate what unclaimed royalties might be worth, consider that mechanical royalties from US streaming typically amount to 15 to 20% of the streaming royalty your distributor collects. If your distributor is paying you $500 per month in streaming royalties, your uncollected mechanical royalties are roughly $75 to $100 per month, or $900 to $1,200 per year, sitting at the MLC waiting for you to register.

Performance royalties from your PRO depend heavily on your specific radio play, streaming data, and live performance activity. For artists with meaningful streaming, ASCAP or BMI royalties can rival or exceed your distributor payouts.

International publishing royalties from Songtrust are harder to estimate without knowing your geographic streaming data, but for artists with substantial European or global streaming, they can be significant.

Use our streaming royalty calculator to model your current earnings and our complete guide to making money as a musician to understand how all these income streams fit together.

Frequently Asked Questions

Q: Do I need to register with both ASCAP and BMI? No. You register with one or the other, not both. The performance royalties are divided between PROs by each platform and radio station. Which PRO you join determines which one collects on your behalf. Both are legitimate; the difference in practice is minor.

Q: If I join a PRO as a writer but not a publisher, do I miss money? Yes. The performance royalty is split 50% to the writer and 50% to the publisher. If you have only registered as a writer, you collect the writer's share but not the publisher's share. Register as both writer and publisher to collect the full royalty.

Q: How do I know if I have unclaimed royalties at the MLC? The MLC has a public search tool at themlc.com where you can search for your works and see if royalties are being held. Artists who have been streaming music without an MLC account are likely to find unclaimed balances.

Q: Is CD Baby Pro Publishing still available? No. CD Baby Pro Publishing was discontinued on August 8, 2023. Existing Pro Publishing releases continue as "Legacy Pro releases." For new releases, CD Baby offers CDB Boost at $39.99 per release, which replaces Pro Publishing.

Q: Is it worth hiring a music publisher instead of using a publishing administrator? A full music publisher typically takes 20 to 50% of your publishing royalties in exchange for actively pitching your songs for sync, covering sheet music licensing, and advancing your career. A publishing administrator takes 15% or less just for collection and administration, without taking ownership of your catalog. For most independent artists, a publishing administrator is the right starting point.

Q: What is Royalti.io and do I need it? Royalti.io is an AI-powered royalty management platform for labels and advanced artists. It helps you manage, analyze, and reconcile royalty data from multiple sources. If you have a single distributor and simple splits, you do not need it. If you manage a label or have complex royalty arrangements across multiple distributors and collection societies, it can save significant time.

Q: Can I collect these royalties retroactively? Partially. The MLC accepts registration for back royalties and holds unclaimed royalties for a period before redistribution. SoundExchange has a similar process for unclaimed royalties. PRO royalties are generally paid from the date of registration going forward, but you can sometimes apply for historical royalties in specific circumstances. The sooner you register, the less you lose.

Start Collecting What You Are Owed

The royalty collection system was not built for independent artists. It was built for publishers and labels with staff to manage registrations across a dozen organizations. Independent artists were left to figure it out alone.

The result is straightforward: money is sitting in collection accounts waiting for you to claim it. Not hypothetically. Literally waiting.

Start with the free registrations: BMI or ASCAP, the MLC, and SoundExchange. Do those three this week. Then evaluate whether a publishing administrator makes sense once you can see your international streaming numbers. That is a couple of hours of your time to unlock ongoing royalty income from music you have already released.

For a clear picture of how distributors and royalty collection organizations all fit together, our music aggregators vs distributors guide explains the full architecture in plain language.

External references: ASCAP, BMI, The MLC, SoundExchange, Songtrust, TuneCore Publishing, CD Baby CDB Boost, Royalti.io, Sentric Music.