Music Royalties Explanation Part 6 - International Monies with Bobby Borg
Why It Matters
Securing a foreign subpublisher ensures artists capture higher overseas royalties and prevents revenue from disappearing into unclaimed funds, directly impacting their global earnings.
Key Takeaways
- •Foreign subpublishing routes royalties from overseas sales to U.S. publishers.
- •Without a subpublisher, royalties may fall into unclaimed “black box.”
- •Mechanical rates abroad are percentage‑based, often higher than U.S. penny rate.
- •Subpublishers typically charge 10‑20% fee, sometimes with advance arrangements.
- •“At source” clauses protect artists’ share of foreign income.
Summary
The video explains foreign subpublishing – the mechanism that channels mechanical, performance, sync and print royalties earned outside the United States back to the songwriter’s U.S. publisher.
Because foreign territories use mandatory mechanical rights agencies, royalties first go to those agencies, then to the local subpublisher, which deducts its fee and forwards the remainder to the U.S. publisher and writer. Mechanical rates abroad are calculated as a percentage of the published price to dealer (typically 8‑10 %), producing larger pools than the U.S. penny‑rate. Performance royalties are collected by local societies, but U.S. societies only handle performance, not mechanics.
Bobby cites Japan’s JazzRrack and the UK’s 9.9 % PPD rate as examples, and stresses that without a subpublisher the money can sit in a “black box” for three to six years before being redistributed pro‑rata to local publishers. He also describes an “at source” clause—20 % fee on foreign earnings—that guarantees artists retain 80 % of overseas income regardless of subpublisher cuts.
The takeaway for creators is to negotiate a subpublishing agreement, include at‑source language, and monitor registrations to avoid losing revenue to the black box. Properly managed foreign subpublishing can unlock significantly higher royalties and protect rights across multiple markets.
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