Know the steps

Start here

One recording, two kinds of rights

The song is the music and lyrics. Songwriters and music publishers handle this side. It is also called the composition or publishing.

The master is one finished recording of that song. Performers, producers, labels, or independent artists may own this side.

You can own your new recording of a cover song without owning the original song. You can also own your lyrics without owning the beat under them. Keep track of both sides.

Step 1

Save your work, then register it

Copyright starts when your original work is fixed in a form you can save, such as a lyric file or audio recording. Posting it or sending it to yourself is not a substitute for Copyright Office registration.

Registration creates a public record. For a U.S. work, you must register before filing a federal infringement case. The timing also affects whether you can seek legal fees and statutory damages.

Keep a folder for every song

• Your dated lyrics, beat, takes, and final WAV.
• Beat license, receipts, split sheets, and other signed agreements.
• Legal names and credits for every writer, producer, and artist.
• Your registration numbers and release details.

Step 2

Know who owns the master

Owning the master means controlling the rights in that recording. It does not mean owning every song recorded onto it. Who owns it depends on the contributions and agreements, not just who paid for the session.

Before a label, producer, studio, or distributor touches the song, read what rights you keep, what permission you give, how long it lasts, and how it ends. Paying for a beat or distribution does not by itself prove ownership.

Using a beat or someone else's music?

• Save the exact beat license. Check stream limits, videos, live shows, radio, paid ads, and the end date.
• Check whether the producer gets a songwriting share, master share, fee, or credit.
• A sample can need permission for both the old recording and the old song. Replaying the old part yourself is different, but the song still needs permission.
• A cover needs the right song license. A remix or mashup needs more than a standard cover license.
• There is no safe number of seconds you may sample without permission.

Step 3

Agree on splits before release day

A split sheet records who wrote the song and each writer's share. Agree while everyone is still in the room. All songwriting shares should add up to exactly 100%.

A producer's songwriting share and a share of the master are different deals. Write both down separately. Do not assume a feature, beat purchase, or studio payment settles either one.

Step 4

Register for the money you are due

One service does not collect every kind of music royalty. Keep your song title, writer names, splits, and recording code the same everywhere.

Your PRO: public performances of the song

A performing rights organization, or PRO, collects for songwriters and publishers when songs are played in public and on covered broadcasts and streams. In the U.S., examples include ASCAP, BMI, and SESAC. Join as a writer, then register your songs with the agreed splits. A PRO does not register your copyright or collect every royalty.

Publishing: managing the song

Publishing covers the song, not the master. You can keep your publishing and handle it yourself, or sign with a publisher or publishing administrator. Read what rights or income they take, for how long, and which songs are covered. Distribution alone is not publishing administration.

The MLC: U.S. digital mechanical royalties

The Mechanical Licensing Collective collects certain U.S. streaming and download royalties for songwriters and publishers. If you control those rights and no publisher or administrator collects them for you, register your shares with The MLC. Check first so two services do not claim the same share.

SoundExchange: some digital plays of the master

SoundExchange handles certain U.S. satellite, internet, and cable radio royalties for recording artists and master owners. This is separate from your PRO. If that applies to you, register as both an artist and a rights owner where appropriate.

Step 5

Choose a distributor and check the details

A distributor delivers your recording to stores and streaming services. It does not clear samples, settle splits, or register every right for you. Store delivery and Content ID are separate choices.

• Compare the full price, renewal fees, extra services, payout terms, and takedown terms.
• Check that you keep the rights you expect to keep. Read the current agreement.
• Use the right artist page and exact artist, feature, songwriter, and producer names.
• Check the clean or explicit label, release date, artwork, and audio before submitting.
• Save the UPC for the release and ISRC for each recording. Your distributor may supply them.
• Leave time for distributor review and each store's own review. Uploading does not guarantee acceptance.

Before you press release

Your release check

• The final audio and artwork are ready.
• Every beat, sample, cover, and feature has the permission it needs.
• The writers signed a split sheet totaling 100%.
• Master ownership and producer terms are written down.
• Everyone approved the names, credits, and song details.
• You saved your UPC, ISRC, agreements, and source files.
• Your Copyright Office, PRO, MLC, and SoundExchange registrations are handled where they apply.
• You checked distribution and Content ID separately.