ASCAP
Performing Rights Organisation · United States
The largest PRO in the US. Collects performance royalties when your compositions are played publicly — radio, TV, streaming, live, retail.
What it collects: US performance royalties on compositions (not masters). 50% to songwriter, 50% to publisher.
What KMA does: Guides your registration as writer and publisher. Ensures your songs are registered so every tracked performance generates a royalty payment.
Cost to you: Free to join as a writer. KMA handles the guidance.
SoundExchange
Digital Performance Royalties · United States
The only US government-designated body for collecting digital radio royalties on master recordings. 3,200+ digital platforms — Pandora, SiriusXM, iHeartRadio — pay SoundExchange by law.
What it collects: Digital performance royalties on master recordings from non-interactive streaming. 45% directly to featured artists, 50% to sound recording copyright owner.
What KMA does: Registers you as both the featured artist and sound recording owner. Ensures both shares flow to you rather than sitting uncollected indefinitely.
Cost to you: Free to register. KMA handles setup.
Songtrust
Global Publishing Administration · 65 Societies · 240 Territories
The world's largest publishing administration platform. Collects mechanical royalties, international performance royalties, and micro-sync from 240 countries — money that ASCAP alone cannot reach.
What it collects: International mechanical royalties (every stream outside the US), performance royalties from 65 collection societies globally, micro-sync from social platforms.
What KMA does: Absorbs the Songtrust onboarding fee in your $499 fee. Registers your catalogue under KMA Records' publishing entity. Songtrust then collects from territories worldwide on your behalf.
Songtrust's take: 15% on performance royalties, 20% on mechanicals. You keep the rest.
SubmitHub
Curator Pitching · 10,000+ Outlets Globally
The most established pay-to-pitch platform in independent music. Connects artists with playlist curators, music blogs, YouTube channels, radio stations, and independent labels through a credit-based, guaranteed-feedback system.
What it does: Submits your release to genre-matched curators who guarantee a listen and written feedback within 48 hours.
What KMA does: Runs every campaign for you. We research curators, write the pitch, spend the credits, report results, and incorporate feedback into future release strategies. $20–40 in credits per release, absorbed by KMA.
East African PROs
UPRS · MCSK · COSOTA · RWACU
Local performing rights organisations in Uganda, Kenya, Tanzania, and Rwanda. These collect royalties from domestic radio, TV, live performance, and public performance within each country.
What they collect: Performance royalties from broadcast radio, television, clubs, hotels, and public spaces within East African territories.
What KMA does: Guides registration with your home country PRO as part of KMA Records onboarding. This closes the domestic broadcast royalty loop that no international organisation covers.
YouTube Content ID
Master Recording Protection · Global
YouTube's fingerprinting system that identifies your master recording in any video on the platform — official or user-generated — and routes ad revenue from those videos to the rights holder.
What it collects: Ad revenue from any YouTube video using your music — dance covers, reaction videos, lyric videos, short films, vlogs.
What KMA does: Registers your masters with Content ID as part of KMA Records onboarding. Every eligible UGC video starts generating revenue instead of zero.