Image credit: Generated for RAPNTV.Money MovesSoundExchange and MusicNation announced a new reciprocal agreement on September 17, 2026, expanding global rights management access for rights holders in the United States and the United Arab Emirates.The agreement creates a new cross-border path for artists, labels, and sound recording owners to collect royalties when eligible recordings are used internationally. According to the announcement, SoundExchange has distributed more than
$13 billion to more than 800,000 music creators.For independent artists, the news is also a reminder that registration, ownership records, and accurate metadata can determine whether money reaches the right person.What the expansion meansSoundExchange and UAE-based MusicNation Copyrights Management entered into an agreement designed to improve the collection and distribution of neighboring rights between the two markets.In practical terms, U.S. artists and sound recording owners represented by SoundExchange may have a new route to receive eligible royalties connected to uses of their recordings in the UAE. Emirati artists and rights holders represented by MusicNation may also have a path to receive royalties connected to eligible uses in the United States.The agreement builds on an earlier partnership through which SoundExchange has provided MusicNation with technology, data, and industry expertise for neighboring-rights administration in the UAE. The September announcement expands that relationship into a reciprocal arrangement.SoundExchange described the agreement as part of a broader international network. Its announcement states that the organization manages more than 100 agreements with collective management organizations and covers 93% of the available global neighboring-rights market.The deal concerns neighboring rights connected to sound recordings. These are different from the publishing rights attached to the underlying song: the lyrics, melody, and composition.SoundExchange’s U.S. role is focused on digital performance royalties for sound recordings played on qualifying
non-interactive digital services. These services can include satellite radio, webcasters, and radio-style digital platforms where listeners do not select an individual song on demand.SoundExchange does
not generally collect the on-demand streaming royalties associated with interactive services such as a listener choosing a specific track on a typical on-demand platform. Those payments are handled through separate licensing and distribution arrangements.
Read the September 17 announcement from SoundExchange and MusicNation.
Image credit: Generated for RAPNTV.Why artists leave money on the tableA common problem is that an artist registers in only one role.SoundExchange distributes royalties according to the rights connected to a sound recording. Under the standard statutory split, 45% goes to the featured artist, 50% goes to the sound recording copyright owner, and 5% goes to a fund for non-featured performers.An independent artist may be both the featured performer and the owner of the master recording. When that is the case, registering in both roles can allow the artist to receive the two applicable shares, commonly described as
95% of the royalties SoundExchange collects for that recording.Artists can miss the rights-owner share when they register only as a performer. Others never register at all, even though their music may have been played on qualifying digital radio services.Ownership can also be misunderstood. The songwriter, producer, performer, and master owner may be different people or entities. Writing a song does not automatically mean owning the sound recording. A label, artist-owned company, or another party may own the master depending on the agreements involved.SoundExchange’s registration is free. Artists and rights holders should review their contracts and determine which roles apply to them before submitting their information.SoundExchange, publishing organizations, and The MLCSeveral royalty systems operate in music, and each one handles a different right.
SoundExchange collects digital performance royalties for the
sound recording when it is played on qualifying non-interactive digital services such as satellite radio and webcasters.
Publishing organizations collect royalties connected to the
musical composition: the underlying lyrics and music. Depending on the use and territory, this can involve performance rights organizations, mechanical-rights organizations, publishers, collection agencies, and other rights administrators.
The MLC administers U.S. digital audio mechanical royalties for eligible uses of musical compositions on interactive streaming services. The MLC is not a replacement for SoundExchange, and registering with one organization does not automatically register an artist with the others.An artist who writes, records, and owns a song may need to manage several separate registrations. The master recording and the composition are related, but they are not the same copyright.SoundExchange explains that it does not currently collect or distribute royalties for songwriters or publishers unless the songwriter or publisher is also a featured artist or a sound recording owner.
Review SoundExchange’s explanation of digital performance royalties, and visit
The MLC for information about U.S. digital audio mechanical royalties.A practical SoundExchange checklist
Register as both featured artist and rights ownerIndependent artists who perform on their recordings and own their masters should register as both:
A Featured Artist, using the artist or group name connected to the release.
A Sound Recording Copyright Owner, using the applicable legal name, label, or business entity.
SoundExchange says registration is free. The two roles may involve separate account information and documentation. Make sure the names and ownership details match the agreements behind the recordings.
Check the Payee List for unclaimed fundsSoundExchange maintains Payee List Information databases for creators and rights holders with royalties that have not been fully claimed or matched.Search using more than one name. Try the artist name, legal name, group name, label name, and business or LLC name. Spelling differences and older artist names can affect search results.A listing does not necessarily mean that every amount connected to the name is ready for payment. It may mean that SoundExchange needs additional registration or claim information.The
SoundExchange artists and labels page includes access to royalty search and registration resources.
Make sure your ISRCs and metadata are correctAn ISRC, International Standard Recording Code, identifies a specific sound recording.Accurate ISRCs help SoundExchange match reported plays to the correct recording, performer, and rights owner. Artists should keep their track titles, artist names, release information, ownership details, and ISRCs consistent across their distributor, label records, and rights registrations.Incorrect or incomplete metadata can make matching more difficult. This is especially important for independent releases that may appear under different spellings, versions, or artist profiles.
Set up direct depositSoundExchange provides direct-deposit options for eligible registered creators and rights holders. Electronic payments can reduce delays caused by outdated mailing addresses, returned checks, or missing payment information.The payment account should belong to the registered payee or the appropriate rights-owning entity. Managers and other representatives should not assume they can receive royalties directly unless the relevant arrangement and SoundExchange rules allow it.
Keep your contact information currentUpdate your address, email, tax information, business name, and payment details when they change.A registration that was accurate several years ago may no longer reflect an artist’s current label, company, legal name, or contact information. Keeping the account current helps avoid payment holds and makes it easier to respond to ownership questions.
If you never claimed, act before the roughly three-year window closesSoundExchange states that it collects as far back as three years. Unclaimed royalties are held for approximately three years before they may be released or forfeited under the applicable rules.That window makes timing important. Artists who discover older recordings, change their legal structure, or learn that they own their masters should review their registration and catalog information as soon as possible.The exact outcome can depend on the royalty period, the status of the account, and whether the recordings have been matched. The general principle is straightforward. Unclaimed money does not remain available forever.
Image credit: Generated for RAPNTV.The larger lesson for independent artistsThe SoundExchange-MusicNation agreement shows why international rights administration matters as music travels across borders. A recording can be created in one country, distributed worldwide, and played by services in several different markets.Collection agreements can make it easier for organizations to exchange data and route eligible royalties. They do not remove the artist’s responsibility to register, document ownership, and maintain accurate recording information.For independent artists, the most important records are often basic ones, who owns the master, who performed on it, which ISRC identifies it, what name appears in the metadata, and where royalty payments should be sent.Those details can help connect a recording to the people who are entitled to be paid.
Watch SoundExchange’s overview of how artists can get paid when their music is played.
Image credit: Generated for RAPNTV.Sources
SoundExchange and MusicNation expand global rights management access
SoundExchange digital performance royalties
SoundExchange resources for artists, labels, and producers
SoundExchange general FAQs
The Mechanical Licensing Collective
