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Direct Licensing Policy

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© 2026 Tiny House Music SAL

1. The Two Copyrights 2. Rights Derived from Copyrights 3. Ownership and Licensing 4. Metadata

II. Publishing Rights

1. Public Performance & Mechanical & Sync Licensing 2. Rights societies: PRO, MRO, CMO 3. How Licensing and Royalties Collection Works 4. Publisher vs. Publisher Admin

III. Master Rights

1. The Three Master Rights 2. Distribution 3. Neighboring Rights 4. Master Use Licensing 5. Label vs Distributor

IV. Usage & Royalties

1. How Revenue Flows 2. Streaming 3. Radio Royalties Explained 4. Film, TV and Visual Media 5. Live Performances 6. Commercial Spaces 7. Case Study & Common Mistakes 8. Ecosystem Summary + Registration Checklist

V. Business & Contracts

1. Split Sheets 2. Contracts 3. 360 Deals 4. Sync Agreements 5. Limitations and Gaps

II. Publishing Rights

2. Rights societies: PRO, MRO, CMO

II. Publishing Rights 1. Public Performance & Mechanical & Sync Licensing 2. Rights societies: PRO, MRO, CMO 3. How Licensing and Royalties Collection Works 4. Publisher vs. Publisher Admin

Country	Composition (PRO)	Mechanical (MRO)	Common Entity
Canada	SOCAN	CMRRA, SODRAC	SOCAN (now handles both)
Switzerland	SUISA	SUISA	SUISA
Australia	APRA	AMCOS	APRA AMCOS
United States	ASCAP, BMI, SESAC, GMR	MLC, HFA, MRI	The MLC (for digital)
United Kingdom	PRS for Music	MCPS	PRS for Music
Germany	GEMA	GEMA	GEMA
France	SACEM	SDRM	SACEM
Ireland	IMRO	MCPS Ireland	IMRO
Italy	SIAE	SIAE	SIAE
Spain	SGAE	SGAE	SGAE
Portugal	SPA	SPA	SPA
New Zealand	APRA	AMCOS	APRA AMCOS

1. Public Performance & Mechanical & Sync Licensing 3. How Licensing and Royalties Collection Works