FAQs

We get royalties from both domestic and foreign sources. Revenue to the Sound Recording Division includes Private Copy royalties generated from the U.S. Audio Home Recording Act (AHRA); and reciprocal Private Copy agreements with numerous foreign collectives in countries that also have legislation providing these royalties such as: Japan, the Netherlands, Hungary, Spain, Portugal, Greece, Germany, Latvia, and Estonia, just to name a few. The Fund also collects record rental remuneration from Japan, and the Netherlands where sound recordings are rented in much the same manner as DVDs are rented in the U.S. The largest share of royalties, however, is generated from the Digital Performance Royalty Act (DPRA) and the Digital Millennium Copyright Act (DMCA) which the Fund collects from Sound Exchange on behalf of non-featured performers. These include royalties collected from digital subscription services, webcasting, and other digital services.

The Fund became operational in 2000 when the AFM and AFTRA (now SAG-AFTRA) determined that neither union had the staffing and resources to distribute statutory royalties to non-featured performers pursuant to U.S. Copyright legislation and foreign equitable remuneration ("foreign royalties") due their members.

No, there are actually two discreet pools of money; one for musicians and another for vocalists. Therefore, while the distribution formula is the same, there are some circumstances where vocalists could receive a royalty for a sound recording that musicians don’t and vice e versa (see Distribution Guideline for more information).

Due to the complex nature of the distributions and the vast number of sound recordings and performers involved, the Fund does NOT pay on each and every sound recording performed or released. Rather, payments are based on a census or a survey. For Private Copy royalties in the U.S., the Fund uses sales data from SoundScan to determine each sound recording’s ranking and pro-rata share of the royalty pool, and data from the respective foreign collectives for such determinations. For Digital Performance Royalties the Fund relies on performance data (such as play lists, and similar material) supplied by Sound Exchange to make these determinations (see Distribution Guideline for a complete explanation).

There are discreet Funds. Each individual non-featured performer eligible for a distribution from the applicable Fund (instrumental musicians, music preparation personnel and vocalists alike) receives a single credit in that Fund for each sound recording they perform on regardless of the number of cuts or parts performed on a particular sound recording. Then, the amount received for each sound recording (less administrative expenses) is divided by the number of non-featured performers to establish each individual’s pro-rata share of the royalties.

Not necessarily. Union and non-union projects will be treated equally for Domestic royalties (i.e. those generated in the U.S.), but a number of the foreign collectives we have agreements with do require that payments made to the Fund generated in their territories be made only to members of the AFM and/or SAG-AFTRA.

The Fund staff conducts extensive research including examining union contracts as well as other documentation available such as liner notes and websites to identify non-featured performers.

Simply contact the Fund via the online inquiry form, and request additional research on your behalf. It is important to include all pertinent information such as song(s) you worked on, session dates, studio location, etc. Supporting documentation such as pay stubs, session contracts, or even affidavits from other non-featured performers and others such as record producers and engineers who were also involved in the recording in question will be most helpful. The Fund will then promptly investigate your claim. If your participation can be verified, then an appropriate pro-rata payment will be made to you from the reserves held back for omissions (see Distribution Guideline for more information).

If for one reason or another (i.e. you have the same or similar name to someone who did actually perform on the album) you received a check but did not perform on any album/single listed, please notify the Fund.

There could be a variety of reasons that despite your performance on a particular sound recording you still did not receive a payment. The most likely cause would be that we might not have your address or social security number. If you move or want to be sure we have the most current information for you, you can email a change of address form.

The Audiovisual Division was established 2010 to distribute royalties collected as the result of negotiations for a bi-lateral agreement with the performing rights organization in Spain called AIE, Sociedad de Artistas Intérpretes o Ejecutantes.

The Audiovisual Division receives contributions from foreign collectives for music used in film and television productions which are broadcast or exhibited in cinemas. These contributions are collected as a result of agreements with AIE (Spain), GVL (Germany), and UBC (Brazil).

See the “About Us” page for a current list of territories for which the Fund has agreements.

Featured and Non-Featured musicians and vocalists whose performances are contained in film and TV productions are subject to Audiovisual royalty payments. Both underscore and licensed sound recordings are included in these royalties.

The Fund is constantly in the process of negotiating additional Sound Recording and Audiovisual agreements in Europe, Asia and South America. In addition, the Fund is actively engaged in partnership with the AFM and SAG-AFTRA, as well as other U.S. rights organizations to expand Performers Rights legislation in the U.S.

Audiovisual royalties received from Spain (AIE), pursuant to the rules and regulations of this territory, do require that payments be made only on the basis of membership in the AFM and/or SAG-AFTRA.

The Audiovisual Division distribution is made annually at the end of September.
The Sound Recording Division distribution is made annually at the end of April.
The Symphonic distribution is made annually at the end of April.

Each division of the Fund has a separate section of the webpage with a list of covered recordings or film and TV titles as applicable where you can check the full list of credits on each title. If you find something on any of those lists that you are not credited on, you can submit an omissions claim online.

Amended as of 08/12/2022

These payments are a unique form of royalties collected for symphonic recordings pursuant to the Digital Millennium Copyright Act in the U.S. and agreements negotiated with foreign collectives that cover performance rights for symphonic sound recordings licensed for use on cable satellite, subscription services, and other digital media.

Symphonic performers are considered “featured” performers. Each individual featured performer eligible for a distribution (instrumental musicians, music preparation personnel and librarians) receives a single credit for each sound recording they perform on regardless of the number of parts performed on a particular sound recording. Then, the amount received for each sound recording (less administrative expenses) is divided by the number of featured performers to establish each individual’s pro-rata share of the royalties.

Not necessarily. Union and non-union projects will be treated equally for domestic royalties (i.e. those generated in the U.S.), but a number of the foreign collectives we have agreements with do require that payments made to the Fund generated in their territories be made only to members of the AFM and/or SAG-AFTRA.

The Fund staff conducts extensive research including examining union contracts, orchestra rosters, and other documentation available to identify featured performers.

Simply contact the Fund via the online inquiry form, and request additional research on your behalf. It is important to include all pertinent information such as performance (s) you worked on, session dates, studio location, etc. Supporting documentation such as pay stubs, session contracts, or even affidavits from other featured performers, and others such as the orchestra manager/contractor who was involved in the recording in question will be most helpful. The Fund will then promptly investigate your claim. If your participation can be verified, then an appropriate pro-rata payment will be made to you from the reserves held back for omissions (see Distribution Guideline for more information).

If for one reason or another (i.e. you have the same or similar name as someone who did actually perform on the album) you received a check but did not perform on any album/single listed, please notify the Fund.

There could be a variety of reasons that despite your performance on a particular sound recording you still did not receive a payment. The most likely cause would be that we might not have your address or social security number. If you move or want to be sure we have the most current information for you, you can email a change of address form.