Tantiemenabrechnungen
Lesson time: (3min 26sec)
Chris erklärt, was auf einer Tantiemenabrechnung steht, warum sie wie eine Gewinn- und Verlustrechnung funktioniert, wie man die Abzüge liest und wann man eine Prüfung in Auftrag geben sollte.
Course preview
This lesson is part of the course Music-Business-Grundlagen für Künstler
Watch a preview of the full course below.
Lesson transcript:
Understanding Royalty Statements
There's several things really on royalty statements. We ensure that:
- Each song appears
- Every song that should appear on the royalty statement is listed
- Even if there's a new balance against it
- Even if there's no income
We want to make sure that our artist's creativity is properly reflected in an income statement. And that's what the royalty statement is: an income statement. It's no different from someone in an office getting their payslip at the end of the month.
The Process of Reviewing Royalty Statements
The first thing they do is look at the bottom line to see:
- How much am I taking home today?
Then they look upwards to see what deductions were made, ensuring the income was correct. That's exactly what we do in terms of royalty statements.
Multiple Facets of Statements
Obviously, there are multiple facets of statements, including:
- Publishing Royalty Statements
- Recording Royalty Statements
- Performance Rights Organizations (PROs)
- Public Performance Licenses (PPL)
There are organizations like BMI or ASCAP in America and all sorts of other collection agencies around the world.
Ensuring Timely and Accurate Statements
We make sure that royalty statements come in on time. We also ensure that the income that should be appearing on there is indeed there.
Limitations in Reviewing Statements
We can't look at everything in fine detail immediately, as it's just not possible given time constraints. For instance, we don't have the capability of reviewing 200, 300, or 500 pages of royalty statements. However, we do the following:
- Every two to three years, if we think the reported income is a little light, we commission an audit on those statements.
Findings from Audits
It's amazing how many times the audits are justified. There are often sufficient funds that have been overclaimed in expenses by:
- Labels
- Publishers
- Primary labels
In some instances, certain country income hasn't filtered through as it should have, and so forth.
Cross-Referencing for Accuracy
We closely examine the statements to ensure that our client's work is properly represented. We have a rough idea of how much money should be coming in based on:
- Number of sales
- Number of plays
Sales is a very good indicator, as you can roughly estimate:
- How many albums were pressed
- How many were posted on platforms like Apple or sold through other means
- Your income level per album sale
Ultimately, it becomes a multiplative process from that point on.
Cross-Referencing with Publishing
Additionally, there are ways of cross-referencing, especially on publishing with PROs. You can see:
- What PROs are paying you
- How that aligns with what you expect from the publisher's royalty statements
This forms a solid basis for further cross-referencing and analysis moving forward.
About the instructor

Imogen Heap ist eine mit dem Grammy ausgezeichnete englische Sängerin, Songwriterin, Produzentin und Technologin, deren Einfluss zwei Jahrzehnte Pop, Elektronik und Filmmusik prägt — ebenso wie viele der Technologien, die Künstler heute selbstverständlich nutzen. 1977 in London geboren und klassisch an Klavier, Cello und Klarinette ausgebildet, veröffentlichte sie 1998 ihr Debütalbum 'iMegaphone', bevor sie mit dem Produzenten Guy Sigsworth das Duo Frou Frou gründete, dessen Song 'Let Go' durch den Film Garden State ein weltweites Publikum erreichte. Ihr komplett selbst geschriebenes und produziertes Album 'Speak for Yourself' (2005) enthielt 'Hide and Seek' — jenen A-cappella-Meilenstein, der später Jason Derulos Nummer-1-Hit 'Whatcha Say' und Ariana Grandes 'Goodnight n Go' antrieb und bis heute neue Generationen von Hörern erreicht. 'Ellipse' (2009) gewann den Grammy in der Kategorie Best Engineered Album, Non-Classical — aufgenommen in ihrem eigenen Heimstudio — und später schrieb und produzierte sie 'Clean' auf Taylor Swifts '1989', das den Grammy als Album des Jahres gewann. Außerdem komponierte sie die Musik zum Theaterstück 'Harry Potter and the Cursed Child'. Als unermüdliche Innovatorin entwickelte Heap die gestengesteuerten MI.MU-Handschuhe — gewürdigt mit drei Ehrendoktortiteln — und gründete Mycelia sowie The Creative Passport, Initiativen für ein faireres Daten-Ökosystem für Künstler. 2024 kehrte sie mit 'What Have You Done to Me?' zurück, entstanden mit ihrem KI-Stimm-Alter-Ego Mogen, während die virale Rückkehr von 'Headlock' ihre Musik Millionen neuer Fans nahebrachte. read more




