Relevés de royalties
Lesson time: (3min 26sec)
Chris explique ce que contient un relevé de royalties, pourquoi il fonctionne comme un compte de résultat, comment lire les déductions et quand commander un audit.
Course preview
This lesson is part of the course Les bases du business de la musique pour les artistes
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 est une chanteuse, autrice-compositrice, productrice et technologue anglaise récompensée aux Grammy Awards, dont l'influence traverse deux décennies de pop, d'électro et de musique de film — ainsi qu'une grande partie de la technologie que les artistes d'aujourd'hui tiennent pour acquise. Née à Londres en 1977 et formée classiquement au piano, au violoncelle et à la clarinette, elle publie son premier album 'iMegaphone' en 1998 avant de former le duo Frou Frou avec le producteur Guy Sigsworth, dont la chanson 'Let Go' touche un public mondial grâce au film Garden State. Son album 'Speak for Yourself' (2005), entièrement écrit et produit par ses soins, contient 'Hide and Seek', morceau a cappella devenu culte, qui propulsera plus tard le nº 1 de Jason Derulo 'Whatcha Say' et 'Goodnight n Go' d'Ariana Grande, et continue de conquérir de nouvelles générations d'auditeurs. 'Ellipse' (2009) remporte le Grammy dans la catégorie Best Engineered Album, Non-Classical — enregistré dans son studio personnel — et elle coécrit et produit ensuite 'Clean' sur '1989' de Taylor Swift, sacré album de l'année aux Grammy. Elle a également composé la musique de la pièce 'Harry Potter and the Cursed Child'. Innovatrice infatigable, Heap a développé les gants gestuels MI.MU — salués par trois doctorats honorifiques — et fondé Mycelia et The Creative Passport, des initiatives qui bâtissent un écosystème de données plus équitable pour les artistes. En 2024, elle revient avec 'What Have You Done to Me?', créé avec Mogen, son alter ego vocal issu de l'IA, tandis que la résurgence virale de 'Headlock' fait découvrir sa musique à des millions de nouveaux fans. read more




