 Hey what's up guys, it's Tuko from Music ID TV and I kinda wanted to get into what was going on in the last couple of videos. Now in the last videos I've been talking about royalties a little bit. We've touched on mechanical royalties, we've touched on digital performance royalties and I saw a little bit of confusion going on in the comments section below which is not what we truly want because the best thing we can have is a full understanding of the way our music is actually making money so we can make money from our music. Right? So I'm going to be talking about five different royalties today so you have a better scope of what this royalty situation has going on. The five royalties I'll be talking about today is performance rights royalties, I'll be talking about mechanical royalties, master recording royalties, digital performance royalties and synchronization royalties. Okay? So performance rights royalties are what is collected by a performance rights organization. Generally we hear about this when it comes to ASCAP, BMI, CSEC, someone and so forth. They're collecting money from blanket license fees that people play in their establishments to be able to play music. This goes for venues, restaurants, lobbies and hotels, if they're playing music, those type of entities have to pay a blanket license fee that goes to ASCAP and then ASCAP pays out to songwriters. So this is not for recording artists, this is a songwriter royalty, they pay out songwriters based on a pro-rata basis, meaning whatever percentage of that song or whatever percentage of the plays that your song got is the percentage of money that you make, okay? So if there's a hundred streams, you had ten of those streams and there's a hundred dollars, you get ten of those hundred dollars for those hundred streams, okay? You got ten percent, that's what you get paid out. And the people who collect those are ASCAP, BMI, CSEC, if you're in Canada that's so can, it's a performance rights organization, whatever country you may be in, look for your performance rights organization that is most fitting for you. Outside of that, the next royalty is mechanical royalty. This is what I talk about in the song trust video. This royalty is directly connected to your streaming and your sales, okay? This is also a songwriter royalty. This is for the songwriter and companies that take care of this are Song Trust, tunecore music publishing, CD Baby Pro, okay? So this is very different from your performance rights royalty. Your performance rights royalty is for a performance of your song in a public setting, okay? Mechanical rights royalties are connected to the actual sales or streams of your music. Two different ways you're being paid, two different usages, okay? After that is digital performance royalties. Digital performance royalties is pretty much the same thing as ASCAP and BMI but on a digital scale. This means non-interactive digital plays like Pandora Radio, Beats One Radio. Anywhere where you're not selecting the song to play, non-interactive, that's where your digital performance royalties comes from and this gets paid out by Sound Exchange. They are designated by the government to collect these specific type of royalties on digital platforms, okay? So this is not necessarily normal Spotify streaming. This is a normal Apple stream where you go and select Drake Song and then you ban, you got what you want and that's not where this payment comes from. This payment comes from more so selecting Drake Station on Pandora, whoever gets paid there gets paid from that money, okay? Next, royalty is master recording royalty. Master recording royalty is the royalty that you receive directly from Spotify, Apple Music, when you distribute your music digitally through platforms like Tunecore, CD Baby and DistroKia, all right? Now, this master recording is designated to record labels and recording artists. Now, this is the first royalty I mentioned which is specifically for record labels and recording artists so you need to understand that when you are getting paid from DistroKit, Tunecore, I'm sorry, from DistroKit, Tunecore, CD Baby, that money that you're receiving is money for the master recording specifically for the recording artist. So, if you are the recording artist and you are your own label, you're receiving your just do, you're receiving that money but you are not receiving your money from mechanical royalties nor are you receiving your money from performance rights royalties unless you're actually registered with someone to take care of your mechanical royalties and the PRO to take care of your performance rights royalties and sound exchange to take care of your royalties on a digital level for non-interactive plays. That's all for songwriters. Now, if you write your songs, you need to make sure you're registered with someone to take care of all those royalties. Once again, all those royalties is something we should be looking to collect in the end, all right? Last royalty but not least royalty actually probably the most royalty in a sense because it'll be sync licensing royalty. This is where a lot of people are getting a lot of money especially nowadays. This is one of the things that I would definitely suggest people try and really get into sync licensing, getting your music on film and television. Reason being because the royalty gets paid out equally between the recording artist and the songwriter. So if you are the recording artist and the songwriter or just one or the other, you're standing to be paid nicely not only percentage-wise but just fee-wise. A lot of fees you can get up from like six figures for certain sync license opportunities depending on the song, depending on the campaign, depending, depending, depending. Now, don't have any specific companies that you should register with to get your sync licensing going but there is a link below that has a list of a ton of sync licensing companies y'all can look into do your research, make sure it's fitting for you. One thing you have to get into with this whole independent music thing is doing your research because honestly it's not handed to us. If you were signed with the publishing company they would take care of all the stuff for you but a lot of us are not and this is what we have to take care of on our own but just understand this is what's kind of going on behind the scenes that we aren't always privy to. So if you have any more questions about this I will be answering questions to help people have a better understanding of this kind of royalty wrap-up. Now didn't want this to necessarily be a class but I also wanted everybody to be able to follow whenever I touch on things that could be talking about receiving more money from your royalties or the platforms or any news that has to do with this. Beyond that be sure to share with a friend like to subscribe for more videos y'all. Once again my name is Tuko from MusicIDTV and this is Use The News. Sayonara.