What are Publishing Rights
In music, there are two main blocks of rights: master rights over the recording (phonogram), and composition rights (publishing) over the musical work itself (lyrics and melody).
Every time your song is played, sold, or synced, it generates publishing royalties for the author — regardless of who distributes it.
Limbo manages and pays your master royalties (phonogram). To collect your composition royalties, the author or composer must register the work with their country's Collective Management Organization (CMO).
Types of Publishing Royalties
Public Performance: when the work is played without the listener choosing it — radio, TV, live shows, retail stores, online radio, algorithmic editorial playlists. Collected by the local CMO (or a PRO in the U.S.).
Mechanical: generated when the listener plays or copies the work — downloads, physical copies, and on-demand streaming on Spotify, Apple Music, etc. Collected by the local CMO (or the MLC in the U.S.).
Synchronization (Sync): when the work is combined with visual media — film, TV series, advertising, video games. Requires a specific license negotiated directly with the publisher or author.
In LATAM, the local CMO typically collects both performance and mechanical royalties in one place (e.g., SADAIC in Argentina, SACM in Mexico). In the U.S., it's separate: PROs (ASCAP, BMI, SESAC) collect performance, and the MLC collects mechanicals.
How to Collect Your Publishing Royalties: 4 Steps Before Every Release
1. Register the work with your local CMO
LATAM: your CMO (SADAIC in ARG, SACM in MEX, SCD in Chile, SAYCO in Colombia) collects both performance and mechanicals in one place.
U.S.: register with a PRO (ASCAP / BMI / SESAC) for performance, and with the MLC (themlc.com) for mechanicals.
2. Agree on splits in writing Document each collaborator's percentage (lyricist, composer, co-producer) before distributing.
3. Get the ISWC for your work When registering with your CMO, request the ISWC (International Standard Musical Work Code) — the unique global identifier for your composition. It's the equivalent of the ISRC, but for the work (not the recording), and it's the key that allows DSPs to match each stream with the correct songwriter to pay mechanicals. Without an ISWC, your global mechanical royalties may not reach you.
4. Decide how to manage your publishing globally Your local CMO only collects in your country. To collect royalties worldwide (including the U.S. via the MLC), you have two options:
Self-published + global publishing administrator: you keep 100% of the rights but hire a publishing admin (CD Baby Pro, Songtrust, Kobalt AMRA, etc.) that registers your work globally and collects international mechanicals on your behalf in exchange for a commission.
Publisher (publishing deal): you assign a percentage (typically 15–25%) to a publisher that handles global registration, international collection, and in many cases also promotion and sync placements.
The choice depends on your activity level and royalty volume. With self-publishing, you keep 100% of the rights but manage collection yourself. With a publisher, you give up a percentage in exchange for global registration and international collection.
Global CMOs — Where to Register Based on Your Country
Remember: in most countries, CMOs collect both performance and mechanicals together. In the U.S., it's separate: PROs for performance, MLC for mechanicals.
