You Don't Register With Soundexchange/Ppl/Sena - Traps & Scams Every Musician Must Avoid

If you think a middling email or a sketchy phone call will sort your royalties later you are about to learn the hard way. Missing registration with the societies that collect money for recordings can cost you more than a bad show outfit. It can cost you years of streaming checks you never saw. This guide is for bedroom producers touring bands session players and anyone who makes recorded music and wants to keep the money that rightfully belongs to them.

We will lay out what SoundExchange PPL and SENA do how they differ from your performance rights organization which documents you must have and the exact traps scammers use to steal your earnings. Everything is written so you can act now and not feel like you need a law degree or a wash of legalese to get paid.

Why this actually matters

Imagine you played guitar on a song that becomes a low key hit. It gets played on satellite radio in the US on streaming radio services and in clubs across Europe. The streaming platform pays royalties. Some of that money goes to songwriters and composers. Some of it goes to record labels and performers because recordings were played. If you are not registered as a performer or as a right holder the cash sits in a pile waiting for a name to claim it. If no one claims it those funds can end up in a general pot or on someone else s books. That is how a small mistake can look like a permanent loss.

What do SoundExchange PPL and SENA actually do

Short answer. They collect and distribute money for recorded performances and broadcasts. Long answer with friendly terms.

• SoundExchange collects digital performance royalties in the United States for owners of sound recordings and for featured performers. Digital performance means internet radio satellite radio and non interactive streaming. If a song is played on Sirius XM Pandora or by an online radio that pays SoundExchange you want to be registered there.
• PPL stands for Phonographic Performance Limited. PPL is based in the United Kingdom and collects payments for recorded music played in public places on radio and television. PPL also distributes to performers and record labels for public performance of recordings across the UK and for some international uses through partner societies.
• SENA is a Dutch collecting society. It collects neighboring rights royalties in the Netherlands for recorded performances broadcast on radio and television and for public playing. Think of SENA as the Netherlands version of the money bucket that belongs to performers and labels.

One more crucial distinction. These societies collect for sound recordings not for compositions. Compositions are the melody and the words. Those are usually collected by your performance rights organization. In the United States those are ASCAP BMI or SESAC. In the UK PRS for Music collects for composers. So recordings and songs have different money paths. Register with both routes or you risk leaving money on the table.

Common terms explained so you sound like you know what you are doing

• Neighboring rights are royalties due to performers and record labels when recorded music is broadcast or played in public. They are not the same as publishing royalties that go to songwriters.
• PRO means performance rights organization. These collect public performance royalties for songwriters and composers. Examples include ASCAP BMI SESAC in the US and PRS for Music in the UK.
• ISRC is the International Standard Recording Code. It is a unique code for each sound recording. Think of it like a barcode for a recording. It helps societies identify the track to pay out.
• ISWC is the International Standard Musical Work Code. It identifies the composition. Useful for publishing royalties not for neighboring rights.
• IPI number is your unique identifier as a songwriter or composer. Some societies ask for it when you register.
• Aggregator is a service that distributes your recordings to streaming platforms. Examples include DistroKid TuneCore CD Baby and others. Aggregators are not always responsible for registering you with neighboring rights societies.

Trap one Forgetting to register early

Real life scenario. You drop a single with your producer and you focus on the artwork socials and letting your cousin DJ play it in a club. Two months later that track appears on a curated playlist in the US. Streams rack up. You get a small royalty for songwriting from your PRO but no payment for performer money because you never registered the recording ownership or your performer credit with SoundExchange PPL or SENA.

Fix this now. Create accounts at the societies where your music is being played. For most US centric streaming and internet radio register at SoundExchange immediately. For UK public performance register at PPL and include your performer credits. For Netherlands and plays in that region register at SENA. If you have international plays register with the local societies that handle neighboring rights in each territory or use a rights company that works with them without giving away your rights for life.

Trap two Relying on your distributor to register you everywhere

Distributors do a lot. They get your audio onto platforms and sometimes register metadata. They often do not register you for neighboring rights unless they explicitly offer that service. Sellers of extra services will email you promising to register you across 100 societies for a fee and a share of royalties. That sounds tempting but many of those services ask for ownership assignment or take large commissions leaving you with pennies for decades.

Real life example. A band paid a company a few hundred dollars to register with multiple societies. The company registered the band but kept a 50 percent slice of royalties for administration. That is not a fee. It is a business model that benefits the company not the musicians. Do not sign away rights when you can register yourself for free or for a small one time cost with an honest society.

Trap three Fake societies and phishing schemes

Scammers send convincing emails that look like they come from a real society claiming your account will be deleted or that you must pay a processing fee to claim a back payment. They create websites with logos that look accurate but change one letter in the address. They set up phone numbers and promise expedited registration for a fee plus credit card details. If you pay you either get nothing or you give the scammer access to your identity and banking.

How to spot the scam

• If a society asks for an upfront fee to register a performer that is unusual. Most legitimate collecting societies do not charge exorbitant fees to create an account.
• If the email link points to a domain that is not the society s verified domain hover your cursor and confirm the URL. If you are on a phone open the society site by typing the known address manually rather than clicking links.
• If someone demands a power of attorney or an assignment of global rights for a small payment step back and read the contract with a lawyer or a trusted manager. That is a major red flag.

Trap four Not registering contributors properly

Imagine you record a session with a drummer and a sax player who will both appear on the mastering sample. They were promised a split and a credit. If you do not get a signed split sheet with their legal names and contact information and then you file a claim at SoundExchange you might not get the money for them. The society will require documentation. Without it money can sit unclaimed while the drummer gets ghosted.

Practical move. Use a simple split sheet at the end of every session. It needs names contact emails and the agreed percentage. Also note whether the contributor is a featured performer or a session player. Featured performers often have different rights under neighboring rights rules. Store the signed copies in a cloud folder and upload them to the society when you register the recording.

Trap five Signing away neighboring rights for short term cash

Companies will offer you lump payment deals called buyouts where they pay a small lump sum for your future neighboring rights. That includes any money you could collect over years of radio plays and uses. Sometimes the offer is slim cash now and a promise of better exposure. The exposure rarely pays the bills the way the rights would.

Example from the cruel school of reality. A vocalist accepted a five hundred dollar buyout to let a production library own future neighboring rights. The library placed the track in a commercial two years later and the neighboring rights would have paid several thousand dollars. That five hundred felt good at the time and then it felt awful when the ad aired.

Rule. Treat buyout offers like vampires. They can look appealing at first and then they erase future income. If a company asks for assignment of rights ask for a licensing deal instead. Licensing lets you keep ownership while granting limited use rights for a period of time. That is usually a fairer trade.

Trap six Bad metadata and missing ISRC codes

No ISRC means your recording can be unidentifiable in databases that societies use to match plays with right holders. Bad metadata can mean your song is credited to the wrong artist or to no one. When that happens your royalties fall into the pool of unclaimed money. Fixing bad metadata after the fact is possible but a headache and it often delays payment.

Checklist for clean metadata

• Assign an ISRC to every recording you release. Your distributor might provide them but you can also register them yourself through your national agency.
• Use consistent artist naming. Do not have releases crediting you as YourName and others crediting you as Your Name. Keep it identical across platforms.
• Include all featured performers and co owners in the metadata. If a guest vocalist is credited on the release make sure that exact credit is used when you register with societies.

Trap seven Not chasing unclaimed royalties

Sometimes money is sitting waiting for a claim. Societies hold unclaimed funds for years. You need to be proactive. If you find a use of your song on foreign radio or TV file a claim with the society in that territory. Many societies offer online search tools where you can search for your recordings and request payment. If you are not sure start with SoundExchange PPL and SENA and then check the territory where the play occurred.

Pro tip. Keep a play log. When you send your music to radio promoters venues or sync agents ask them for play reports. The more data you have the faster societies can match plays to your account.

Trap eight Signing vague administration deals

Administration deals where a company promises to collect royalties on your behalf can be useful. But vague contracts can grant the admin company rights beyond collection. They might take a share for collection unless you confirm the split and the fee schedule. Some contracts ask for exclusive administration for compositions and that can unintentionally include neighboring rights if the language is fuzzy.

Red flag language to watch for

• Words like assign transfer or convey without time limits.
• Terms that grant worldwide exclusive rights for all uses without clear termination clauses.
• Automatic renewal clauses that lock you into deals for years unless you give notice months in advance.

If you must sign for administration agree to a transparent fee model and a clear scope of rights. Prefer non exclusive unless the admin service is providing demonstrable value that outweighs the commission.

Trap nine Getting scammed by so called registration middlemen

These are companies that promise to register you with dozens of societies for a fee. They may actually register you but then take rogue commissions or split payments. The problem is the contract. These middlemen sometimes insert clauses that allow them to collect payments directly into their account and keep a portion before forwarding the balance to you. That can be legal but it can also be exploitative.

Always ask three questions before paying anyone to register you

1. Do they work directly with the society and can you confirm the registration on the society s official site?
2. What exact percentage do they take and is it a one time fee or a recurring cut of royalties?
3. Can you get a copy of the registration receipt or confirmation showing your account number at the society?

How to register correctly and avoid all those traps

Here is a checklist you can use to be confident your money is claimable and safe.

1. Create a SoundExchange account if you earn plays or streams in the United States. Register as both a recording owner and a featured performer if applicable. Upload your W9 or W8 BEN for tax info and link your bank so the society can pay you directly. Keep your tax forms updated.
2. Create a PPL account for UK plays. Upload performer credits and label information. Keep proof of ownership and split sheets ready for verification.
3. Create a SENA account or contact your local society if your music is played in the Netherlands. Provide performer IDs and label details. If you do not live in that country use the nearest association partner to claim royalties.
4. Register with your PRO for the composition side. In the US choose ASCAP BMI or SESAC and register your songs with writer splits and work splits. Get your IPI number if required.
5. Assign ISRC codes for each sound recording. Keep a master spreadsheet with track titles ISRCs durations release dates and contributor info.
6. Collect signed split sheets from every session with legal names emails and agreed percentages. Scan them and store them safely. Upload copies to societies when requested.
7. Keep records of releases release dates stores and platform links. A clear timeline helps when a society asks for proof of use.
8. Do not sign away ownership for a small immediate payment. Consider licensing instead of assigning for limited uses and time frames.
9. Review any third party admin contract with a lawyer or a trusted experienced manager before you sign. Ask for transparency on commissions and payment flow.

How to spot and handle suspicious emails calls and letters

If you get an odd email saying claim your royalties now or pay X to verify your account do this instead.

1. Do not click links. Open a new browser tab and go to the society s official website by typing the address manually.
2. Check sender domain carefully. Scammers often use domains that are close but not exact.
3. Call the society using the number on their official website. Ask if they sent the message.
4. If any party asks for a wire transfer for registration stop and confirm by phone. Legitimate societies rarely require wire transfers for basic registrations.

What to do if you find missing royalties

If you discover plays that should have earned you money but you have not been paid follow this route.

1. Collect proof of the play. Time date station or platform and a link or recording if possible.
2. Check whether the track s metadata includes an ISRC and whether the ISRC matches what the society has on file.
3. Open a claim with the society that should pay you. Each society has a process for disputed or missing payments. Provide your proof and your account details.
4. If the society asks for additional evidence such as contracts or split sheets provide it. Keep copies of everything you send.
5. If you hit a wall hire a rights recovery specialist or talk to an entertainment lawyer. For large sums of unpaid monies professional help is worth the cost.

Real life catch and recovery story

One unsigned indie band noticed their early single was being used by a UK talk show. They had never registered the recording. The band contacted PPL with the show s timecode and a broadcast clip. PPL matched the recording through the ISRC that the band later provided and paid out several months of neighboring rights. The band learned two lessons. Register early and keep a recording of important broadcasts. The recovery covered a tour expense and then some.

Extra tips for session musicians and featured artists

• Always ask whether your performance will be credited as featured or as a session musician. Featured artists have stronger claims to neighboring rights in many territories.
• Take a copy of the split sheet and insist the label or the main artist register you as a performer. If they refuse then register a claim with SoundExchange for your performances and keep your session documentation.
• If you are hired for hire meaning paid per session without rights make it clear in writing. Do not assume payment now precludes future neighboring rights unless you signed that agreement.

How to work with an honest admin company without getting burned

Sometimes you want help. Honest administration services can speed up collections and handle global claims. Here is how to choose one that will not swallow your soul.

• Ask for references from artists you know and trust. Verify the references are real and that payments were made on time.
• Get a written fee schedule and confirm whether fees are deducted before or after tax credits and costs.
• Keep a short trial period. Do not sign a long exclusive contract without a way out if the service does not perform.
• Insist on quarterly statements with full transparency so you can see what was collected and what fees were deducted.

How to register internationally without losing your mind

You do not need to register with every single society in the world yourself. Use these steps to be efficient and safe.

1. Start with the big players. SoundExchange for the United States PPL for the United Kingdom and SENA for the Netherlands. If you get significant play in other territories find the corresponding society used in that country.
2. Use your PRO s reciprocal agreements. Many PROs and neighboring rights societies have reciprocal agreements so a claim in one territory can be forwarded to the society responsible for distribution in the origin country.
3. Consider a global rights management service only if their contract is transparent and their commission is fair. Always keep ownership rights in your hands unless you have a very strong reason to give them up.

Checklist you can print and use today

• Create accounts at SoundExchange PPL and SENA if you expect plays in those territories.
• Register your songs with your PRO and include accurate writer splits and IPI numbers.
• Give every recording an ISRC and store a master spreadsheet with metadata.
• Use split sheets for every session and upload them into your cloud folder.
• Do not sign away neighboring rights for small lumps of cash. License instead of assign where possible.
• Verify any third party claiming to register you by confirming registration on the society s official site.
• Keep proof of plays and be proactive about missing royalties.

Final preventive advice without legal fluff

Play smart like your income depends on it because it does. Register early keep clean records and do not let anyone talk you into giving away forever rights for a quick drink at the bar. If something looks odd ask questions. If your gut says hold off then hold off. Most societies are straightforward to work with and they exist to pay people like you. Scammers and greedy middlemen profit from the people who do not take a minute to verify an email address or a contract clause.

FAQ

What happens if I never register with SoundExchange PPL or SENA

If you do not register you risk not receiving neighboring rights royalties from digital plays broadcasts and public performances. The money might sit in unclaimed pools or be distributed to other registered right holders. Registering creates an official record that you are entitled to payment.

Does my distributor register me with these societies

Sometimes but not always. Many distributors only deliver music to platforms. Some offer optional neighboring rights registration for a fee or for a cut. Always confirm explicitly whether the distributor will register you in the societies you need and whether this service costs extra. Do not assume it is included.

Can I register after the fact and recover past royalties

Yes often you can recover past royalties but it takes proof. Societies will usually consider retrospective claims if you can provide a release date ISRC or evidence of broadcast or public play. The process can take time so acting sooner is better.

Are there legitimate companies that register me for a fee

Yes there are legitimate registration services. Work only with companies that provide transparent fees do not require assignment of rights and provide registration receipts or your account number on the society s official site. Get references and read the fine print. If they want exclusive global control walk away unless you have a compelling reason and a lawyer on retainer.

Do session musicians get paid by these societies

In many territories session musicians can be entitled to neighboring rights. This depends on the local laws and whether the society recognizes non featured performers. Always clarify whether you will be credited as featured and get that credit in writing. Keep signed session agreements to prove your participation.

What documents do I need to register

Typically you need proof of identity proof of ownership or proof of performance and metadata such as ISRCs and release dates. Split sheets and contracts help especially for disputed claims. Each society has its own requirements so check the society s website for a precise list.

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