And then there’s also something called “neighbouring rights”.
For producers and musicians who are heard on a recording.
There are different pros for those.
They collect once music gets airplay.
I’m a member of the Dutch equivalent and it works.
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Yhm. If you’re a writer in PRS, there is no need to be a publisher there, it would give you… nothing. The best idea is to register in other country, especially from USA.
Yep, they collect it in USA. But have you heard about the MLC? It looks like they are way more modern. Or at least they try to be modern. I was going to start the discussion about Harry Fox/MLC two years ago but than I read that Harry Fox redirect mechanicals from US to American PROs (did not souvle check it). Besides that I did not hear about anyone signing there. But. Maybe it is a thing to consider?
Yep. @criskcracker already said that they are called PPL. Their existance depends on a local law.
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Yes, I’ve been reading that they’re the brand new official mechanical rights PRO in the US for streaming services, which was created when the US Congress passed the Music Modernization Act (MMA) in 2018. Perhaps MLC could be the way forward for mechanical publishing royalties. Definitely worth some consideration I think. For me, for the time being, I’m going to sign up as a publisher with ASCAP first, then perhaps I can email them about how is best to receive mechanical royalties.
I’m happy to hear that you’re receiving your recording royalties. Are they mainly royalties from Carach Angren that you collect from there? PPL hasn’t found any royalties for me, but then I’m not touring with an awesome metal band! 
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Just wanted to post this great resource that I found which has helped me to understand the flow of $s within the music industry:
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Haha thanks
Actually it’s only library music and incidental music so that’s cool.
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Just a bit of an update for anyone following this thread and a little bit of an info request to those with PRO-related experience…
I joined ASCAP as a publisher. It was really easy, like you said it would be Clemens, thank you for the encouragement. Might take a while to see any results, but I feel good about it.
Hey Krzysiek, I also joined the MLC as a publishing company once I received my IPI from ASCAP. It was a straightforward, and free signup. Registering works there was quicker too, although it took a little bit of reformatting of a CSV file that I downloaded from ASCAP to match the template supplied by MLC. Bit of a rigmarole, but certainly quicker than registering each work individually.
My request for knowledge is from anyone who is familiar with the ‘free plan’ from TuneSat. I uploaded and registered a bunch of my tracks there today. It was an easy process, but unlike Soundmouse, they didn’t ask for many details about the tunes (ISWCs etc.). I surmise that TuneSat does not integrate with PROs to help deliver royalties like Soundmouse does, rather they provide information about broadcast performances of your tunes that you can then manually report to your PRO to claim? Or perhaps this missing functionality is a limitation of the free plan?
In any case, whatever the answer is, I would love to know people’s experience using TuneSat, both for free, or on one of the paid options…
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Great you were able to join!
I’m also in the TuneSat free plan. I was lucky that it detected a couple of commercials last year. It does not integrate with another platform indeed so it just lets you know the airplay. It’s like a monitor, nothing else. What I did is I gathered all the information and e-mailed it to both my Pro and publisher. They took it in and will process it.
I can see that my publisher already paid a couple of plays but my assumption is that they get indeed automatically recognised via SoundMouse.
The problem with Tunesat is that it is pretty expensive to have an account and the free one just has 50 tracks so you would have to constantly remove/ add files depending on what you expect will have airplay.
I guess we will have to mostly rely on SoundMouse.
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Thanks for the info, I thought that might be the case. I’ll stick with it (might as well, I suppose, since it’s free). Be interesting to see if anything shows up.
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Hello everyone,
I’m in a situation right now, and I’m not sure what to do…
One of my tracks was used in series that were shown on multiple streaming channels.
Do streaming televisions need to fill cue sheet?
And who fills in the cue sheet, series producer, or streaming channel?
Another dilemma is:
Which license should they buy? A Standard License was purchased.
Hi Darius,
They purchased the wrong licence. They most likely need the Broadcast and Film licence. You can see in the licence information page where it says ‘and online equivalents’, so streaming platforms come under the broadcasting umbrella. There might be more info about it in the licence FAQ, although I don’t have time to check right now. Hope you manage to claim what you are owed from them.
What do you mean exactly with streaming channels?
Is your music registered with a PRO/ Soundmouse etc.?
Hi criskcracker
Yes, I’m sure that they purchased wrong licence. I just don’t know which one they should actually buy.
The story is actually much more complex 
I found my track under a different title, and the name of the author, on many platforms, along with other music from the series…
So that upset me a lot !
Hi CWMusic
Here is the definition from Wikipedia
Streaming television is the digital distribution of television content, such as TV shows, as streaming media delivered over the Internet. Streaming TV stands in contrast to dedicated terrestrial television delivered by over-the-air aerial systems, cable television, and/or satellite television systems.
Yes, I registered my tracks about 7-8 months ago on BMI and 2 months ago on SoundMouse.
The series aired last summer
I think you should be good, keep a record of the shows in your own notes so you can compare once payment initiates.
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Here’s some more info for you regarding broadcast licences and TV streaming platforms:
As far as I understand it the cue sheet is filled by the content creator/production company, then they report it to your PRO. The PRO then monitors the TV schedule for any plays of the production, and using all that info, they can figure out what royalties need distributing to whom.
For TV promos, a cue sheet is often created by the network who cut their own promos with an in-house creative team.
I would imagine it’s a similar setup with TV streaming platforms.
Here’s an article that I found which describes how Netflix pays its licence fees. Thought it might help:
https://www.thecomposerworks.com/news/netflix-royalties/
Thank you, both of you @criskcracker and @CWMusic, I appreciate yours effort 
Yes, I definitely do that.
As far as I understand, they have to buy a broadcasting license first, probably Music Mass Reproduction or Music Broadcast (10 million).
This is a series:
And now that I have contacted them, I will do my best to find out if they have filled out the Cue sheet.
I would check with Envato support to see whether they consider Youku to be a TV streaming platform (like Netflix, Disney+ etc.) or a video streaming platform (like YouTube). If it’s the latter, they may only require the standard licence. If it’s the former, and are available to everyone in China, then they will need to get the top tier licence - Broadcast and Film - not the 10 Million licence. (Based on a potential audience of 1.4 Billion.)
Receiving PRO royalties from Youku plays also depends on what music licensing deal Youku has with your PRO. I would recommend getting in touch with your PRO. They might be able to help with some of this info.
Thank you @criskcracker, I contacted Envato support and my PRO, so we’ll see what they say…
Here is what it says where the series was broadcast:
And of course in China, through Youku.
Hi RedOctopus, i’m wondering; would the above also apply if a correct & detailed cue-sheet was provided to my local PRO, plus i’ve also communicated a few times with the PRO to make them aware about the sync-placement? I’ve been under the impression that my PRO would collect the royalties via the foreign PRO(s) and that i would receive the royalties eventually, albeit with a delay (of up to 2 or 3 years).
(I was lucky enough to land a fairly big US sync placement (i was contacted directly by the production company) and want to make sure that i’m receiving the correct amount of back-end royalties.)
p.s. thanks a lot for all your earlier clarifying posts