BIEM

BIEM (Bureau International de l'Edition Mecanique, or International Bureau of Societies Administering the Rights of Mechanical Recording and Reproduction) is an international organization founded on January 21, 1929 that coordinates statutory license agreements among mechanical rights societies worldwide. Based in Neuilly-sur-Seine, France, it represents 60+ member societies across 58 countries, ensuring that royalties flow to composers, authors, and publishers when their works are reproduced on physical media or through digital means.

How BIEM Works

BIEM is not a collection society itself. It does not license music directly or pay royalties to individual creators. Instead, it serves as the coordinating body for its member societies, which are the actual organizations that license mechanical rights and collect royalties in their respective territories.

Mechanical rights cover the reproduction of musical, literary, and dramatic works. This includes physical reproduction (CDs, DVDs, vinyl records) and digital reproduction (downloads, streaming reproductions, ringtones). Each time a musical work is commercially reproduced, a mechanical royalty is generated. BIEM member societies license these reproductions and distribute the collected royalties to their member creators and publishers.

BIEM's primary functions include negotiating standard agreements with international organizations like IFPI (representing the recording industry), facilitating bilateral representation agreements between member societies, and assisting in resolving disputes between members. Member societies enter into mutually beneficial agreements that allow them to represent the protected repertoire of fellow members, enabling licensing of the vast majority of the world's musical works.

Since 2018, BIEM has operated in close convergence with CISAC (International Confederation of Societies of Authors and Composers). While BIEM maintains its independent legal entity, General Assembly, Management Committee, and membership structure, its operational services are provided by CISAC. This convergence delivers cost savings and increased efficiencies for the global membership of both organizations. BIEM represents the interests of its member societies in international forums including WIPO, UNESCO, TRIPS, and the WCO.

BIEM also conducts research on private copying levies and mechanical rights markets. The organization published a Private Copying Global Study in collaboration with CISAC and Stichting de Thuiskopie, documenting the scope and revenue of private copying systems worldwide.

Real-World Example

A German songwriter's composition is recorded by a French artist and released on CD and streaming platforms across Europe. The mechanical royalties for this reproduction are collected as follows:

GEMA (Germany's collective management organization and a BIEM member) represents the German songwriter's catalogue. Through BIEM's bilateral representation framework, SACEM (France's society, also a BIEM member) licenses the mechanical reproduction of the composition in France. SACEM collects the mechanical royalties from the French record label and streaming platforms, then remits them to GEMA, which distributes them to the German songwriter.

If the same composition is released in Japan, JASRAC (a BIEM member since 1968) licenses the mechanical reproduction in Japan, collects royalties from Japanese platforms, and remits them to GEMA for distribution. This network of bilateral agreements, facilitated by BIEM's coordination, means the songwriter receives mechanical royalties from every territory where their work is reproduced without needing to join each society individually.

The standard mechanical royalty rate in most BIEM territories is a percentage of the published dealer price (typically 8.5% to 10%), though rates vary by country and agreement type. In the United States, the mechanical rate is set by the Copyright Royalty Board (currently 12.40 cents per song for physical and digital downloads, and a percentage of revenue for streaming).

Why It Matters for Independent Artists

BIEM matters to you indirectly. You do not join BIEM directly. Instead, you join your local mechanical rights society (such as GEMA in Germany, SACEM in France, JASRAC in Japan, or the MLC in the United States), and that society's BIEM membership enables mechanical royalty collection across 58 countries.

If you are an independent artist distributing music internationally through a digital distributor like DistroKid or TuneCore, mechanical royalties are generated in every territory where your music is streamed or downloaded. Your local society collects domestic mechanical royalties, and through BIEM's network of bilateral agreements, foreign societies collect international mechanical royalties on your behalf.

However, many independent artists do not realize that streaming mechanical royalties and performance royalties are separate revenue streams. Performance royalties are collected by PROs (like ASCAP or BMI). Mechanical royalties from streaming are collected by mechanical rights organizations (like the MLC in the US or GEMA in Germany). Ensure you are registered with both types of organizations in your territory to capture all royalty streams.

If you use a publishing administrator (like Songtrust, Downtown Music, or CD Baby Pro), they typically register your works with societies worldwide through BIEM's network. If you self-administer, you must register directly with each society in every territory where your music generates mechanical royalties, or rely on your local society's reciprocal agreements.

Territory Covered

BIEM operates internationally. Its 60+ member societies represent mechanical rights across 58 countries on six continents. Member societies are located in Europe (GEMA, SACEM, SIAE, SGAE, PRS for Music), Asia-Pacific (JASRAC, COMPASS), Africa (SAMRO, CAPASSO), and the Americas (SACM, SADAIC, ASCAP). BIEM itself does not claim any specific territorial jurisdiction. It coordinates among its member societies, each of which administers mechanical rights in its own country.

How to Join

You cannot join BIEM directly. BIEM is an organization of societies, not of individual creators. Songwriters, composers, and publishers must join their local mechanical rights society, which is a BIEM member.

For example, a German songwriter joins GEMA. A French songwriter joins SACEM. A Japanese songwriter joins JASRAC. A US songwriter joins the MLC (Mechanical Licensing Collective). Once registered with a BIEM member society, the creator's mechanical royalties can flow across 58 countries through BIEM's bilateral representation framework.

Publishing administrators like Songtrust, Downtown Music, and CD Baby Pro register works with BIEM member societies worldwide on behalf of their clients. Self-administered creators must register directly with each society in every territory where their music generates mechanical royalties.

Overhead Rate

BIEM does not collect or distribute royalties. It does not retain an overhead percentage. Each BIEM member society sets its own administrative commission rate independently. For example, GEMA charges approximately 15% for mechanical rights administration. SACEM charges approximately 12-15%. JASRAC charges approximately 10-15%.

BIEM's role is limited to coordinating standard agreements between member societies and negotiating industry-wide rates with organizations like IFPI. The BIEM/IFPI Standard Contract sets the mechanical royalty rate at 8.712% of PPD (published price to dealers) for physical audio products, down from the previous 9.009% rate. This rate adjustment reflects an agreed increase in the discount allowance.

Royalty Distribution Schedule

BIEM does not distribute royalties. Each member society follows its own distribution schedule. Most BIEM member societies distribute royalties quarterly or semi-annually. Some distribute monthly for digital revenues and quarterly for physical revenues.

BIEM's coordination role includes facilitating the timely exchange of usage data and royalty payments between member societies. The organization conducts annual Mechanical Right Day meetings where member societies discuss distribution practices, market developments, and dispute resolution.

Reciprocal Agreements

BIEM's primary function is facilitating bilateral representation agreements between its member societies. These agreements allow each society to represent the protected repertoire of fellow members in its territory. This network enables licensing of the vast majority of the world's musical works for mechanical reproduction.

BIEM also maintains the Standard Contract with IFPI (International Federation of the Phonographic Industry), which sets conditions for the use of member societies' repertoires by record producers. The current Standard Contract has been in effect since January 1, 2014, replacing an earlier agreement that expired in June 2000.

Since 2018, BIEM has operated in close convergence with CISAC. While BIEM maintains its independent legal entity, General Assembly, Management Committee, and membership structure, its operational services are provided by CISAC. BIEM represents its member societies' interests in international forums including WIPO, UNESCO, TRIPS, and the WCO.

Notable Members

BIEM's members are collective management organizations, not individual creators. Notable member societies include:

• GEMA (Germany) - Founded 1903. BIEM member since January 21, 1929 (founding member). Represents over 800,000 creators.
• SACEM (France) - Founded 1851. BIEM member since March 27, 1968. Represents over 200,000 creators.
• JASRAC (Japan) - Founded 1939. BIEM member since October 8, 1968. Largest music copyright society in Japan.
• SIAE (Italy) - Represents Italian authors and publishers across music, cinema, and theater.
• SGAE (Spain) - Represents Spanish authors and publishers.
• PRS for Music (United Kingdom) - Represents over 160,000 songwriters, composers, and publishers.
• NCB (Nordic Copyright Bureau) - Administers mechanical rights across Nordic and Baltic countries.

BIEM vs Other Organizations

Videos

Compare BIEM with Other PROs

• CISAC - International umbrella organization for authors' societies
• NCB - Nordic Copyright Bureau for mechanical rights
• GEMA - German society for musical performing and mechanical rights
• SACEM - French society of authors, composers, and publishers
• JASRAC - Japanese society for rights of authors, composers, and publishers
• CMRRA - Canadian mechanical rights reproduction agency

Related Resources

• Mechanical Royalties - How mechanical royalties are generated and collected
• Mechanical License - The legal mechanism for reproducing copyrighted works
• Performing Rights Organizations (PRO) - How PROs differ from mechanical rights societies
• Collective Management Organization (CMO) - How CMOs operate globally
• ISRC - The recording identifier used to track mechanical reproductions
• BIEM Official Website - Visit BIEM for member directory and resources
• Use our Streaming Royalty Calculator to estimate your digital earnings