Distribution

All the fees collected are distributed as royalties, after deducting operating expenses and funds dedicated to social actions and cultural programs.

The distribution is done in two stages:

1. Affectation for each work:

• Publicly performed works (originating from public broadcasting): also known as performing rights. The royalties for each song are based on the duration and the number of times they were played.
• Reproduced works (CD, audio tapes and video) : also known as  mechanical royalty or reproduction right. The royalties for each song are based on the duration and the number of copies reproduced.

2. Distribution of the amounts among the rights holders for each work:

The song can be written by one or more persons, can be edited or not, can be played in public and/or reproduced (CD, audio tapes and video). Partage des sommes entre les différents ayants droit de chaque œuvre:  several key information-sharing activities apply to each case.

The royalties are distributed:

• For the representation and reproduction rights (statutory rights): by thirds between the author, the composer and the publisher of the song. -> 25% of royalties go to the author, 25% to the composer and 50% to the publisher.
• For the reproduction rights, they depend on an agreement established between the rights holders.

The document below will give you details on the different distribution rules.

There are four distributions each year :

In January and July :

Distribution of radio, television and 'general royalties’ (concerts, galas, balls, public places using background music for business purposes,…), reproduction royalties (CDs, tapes,…) and royalties generated from cinemas.

In April and Octobre :

Distribution of royalties coming from foreign countries, private copy levies, cinemas and videographic reproduction rights.

At each distribution, the royalties collected, over either a semester or trimester, are apportioned (causing a smaller burden on administration costs). Thus, the royalties collected over the period of the 1st semester of the year are distributed in January of the following year and so on.

Even though SACEM can draw on a global repertoire of 118 million works, there some works that are not yet identified or registered at SACEM. At the moment, these royalties cannot yet be distributed; however, research is being done in order for SACEM to be able to do so: we either contact our members so that they hand us in the information missing, or we contact foreign author societies. If no result can be found and case we still can’t seek out the rights owner, the amount collected from these works are distributed among our members.