Canadian Artists: The MLC Is a Reminder That Distribution Does Not Collect Every Royalty
The MLC's new Music Registration 101 course is a useful prompt for Canadian artists to check which royalty lanes their distributor, SOCAN, CMRRA, The MLC, and SoundExchange actually cover.
Short answer
Canadian songwriters can have US digital mechanical royalties administered by The MLC when their music streams in the United States. Distribution, SOCAN performance collection, Canadian reproduction collection, and US mechanical collection are separate lanes. Artists should map who handles each right, register works accurately, and check The MLC or their administrator for gaps.
Key takeaways
- The MLC launched a free Music Registration 101 course covering copyright, PROs, mechanicals, SoundExchange, and distribution revenue.
- The useful part is not a new royalty. It is that the registration map is now explicit: “royalties” is really several separate money flows.
- For Canadian songwriters with US streaming, The MLC collects a specific US mechanical lane that your distributor and SOCAN do not.
- Distribution is not publishing administration. Check that each lane is actually covered before assuming everything is collected.
What happened?
The Mechanical Licensing Collective launched a free online course called Music Registration 101. The course covers copyright registration, performance rights organizations, mechanical royalties, SoundExchange, and distribution revenue. The useful part is not that a new royalty exists. It is that The MLC is making the registration map explicit.
That matters because artists often use one word, royalties, for several separate money flows. A distributor, a PRO, a mechanical collective, and a neighbouring-rights or digital performance organization do not all do the same job.
Does this apply to Canadian artists?
Yes, if your songs are streaming in the United States and you have a songwriter or publisher share in the composition. The MLC administers a US digital mechanical royalty lane for eligible interactive streaming and download services. It does not replace SOCAN, CMRRA, SOCAN Reproduction Rights, SoundExchange, or your distributor. The practical map is straightforward once you separate the lanes:
| Organization | What it collects | Where |
|---|---|---|
| Your distributor | Master recording revenue from DSPs | Worldwide |
| SOCAN | Performance royalties for the composition | Canada + global PRO network |
| CMRRA / SOCAN Reproduction Rights | Canadian reproduction and mechanical administration | Canada |
| The MLC | Digital mechanical royalties for interactive streaming and downloads | United States |
| SoundExchange | Non-interactive digital performance for the sound recording | United States |
Why independent artists should care
A Canadian artist can have a release live everywhere and still have missing songwriter royalties if the work is not registered in the right place.
Distribution is not publishing administration. SOCAN is not The MLC. A master royalty is not the same thing as a composition royalty.
This is where a lot of money gets lost quietly. Not because the artist did something reckless, but because the royalty system is fragmented and the platforms do not explain the boundaries clearly. The MLC course is useful because it gives artists a reason to check the map before assuming everything is covered.
What should you check now?
Your registration checklist
Start with the release metadata: make sure your ISRCs, songwriter names, publisher information, and split details are correct. Then check whether each composition is registered with the organizations that match your actual rights and territories.
If you write your own songs, confirm who is collecting your performance royalties, who is handling Canadian reproduction or mechanical income, and whether US mechanical collection is covered through a publisher, administrator, or direct MLC membership. If you also own the master, check whether SoundExchange applies for non-interactive US digital uses.
What is still unclear?
Open question
How much Canada-specific guidance The MLC course gives. The course is still useful, but Canadian artists need a translation layer: which parts apply directly, which parts are US-only, and which Canadian organizations still need to be handled separately. The safer takeaway is simple: do not assume one registration covers every royalty. Treat distribution, performance, mechanicals, neighbouring rights, and non-interactive digital performance as separate lanes until you have confirmed otherwise.
Sources
Frequently asked questions
Can a Canadian songwriter collect royalties through The MLC?
Yes. The MLC administers eligible US digital mechanical royalties based on US interactive-streaming uses, and foreign songwriters or their representatives can participate.
Does a music distributor collect MLC royalties?
A distributor generally collects sound-recording revenue. The MLC handles a composition-side US mechanical lane, so distribution alone does not guarantee those royalties are claimed.
Does SOCAN replace The MLC?
No. SOCAN's core performance-rights role is different. Canadian reproduction administration and US blanket digital mechanicals also have distinct systems, even when organizations exchange data or partner.
What should Canadian artists register for US mechanicals?
Register accurate works, writers, publishers or administrators, ownership shares, alternate titles, ISWCs, and connected recording ISRCs. Then confirm which organization is responsible for claiming US digital mechanical uses.
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