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Royalty Information

Production music (also known as "stock music" or "library music") is the name given to recorded music that can be licensed to customers for use in film, television, radio and other media. Oftentimes, the music is produced and owned by production music libraries such as Caribbean House Records.

If you have ever received artist royalties from Caribbean House Records in the past, please provide us with your royalty vendor name and vendor number so we can look up your account information. If you are unsure of this information, please provide the following:

Your Participation/Role
Artist Name
Producer Name
Album Title
Song Title
Release Date
Record Label


Royalty payment

royalty is a payment made by one party, the licensee or franchisee to another that owns a particular asset, the licensor or franchisor for the right to ongoing use of that asset. Royalties are typically agreed upon as a percentage of gross or net revenues derived from the use of an asset or a fixed price per unit sold of an item of such, but there are also other modes and metrics of compensation.


A royalty interest is the right to collect a stream of future royalty payments.

A license agreement defines the terms under which a resource or property are licensed by one party to another, either without restriction or subject to a limitation on term, business or geographic territory, type of product, etc. License agreements can be regulated, particularly where a government is the resource owner, or they can be private contracts that follow a general structure. However, certain types of franchise agreements have comparable provisions.


License or synchronization fees

These are the fees paid upfront to Caribbean House Records for permission to synchronize its music to a piece of film, video or audio. These fees can range from a few dollars for an Internet usage, to thousands for a network commercial usage. Some libraries, especially in the UK and Europe, split these fees with the composer of the music. In the US, it is more common for a composer to be paid a work-for-hire fee upfront by the library for composing the music, thus waiving his/her share of any future license fees.

In the UK, license fees for production music are nationally standardized and set by the MCPS. In the US and elsewhere, libraries are free to determine their own license fees. Performance income (or performance royalties) Performances income is generated when music is publicly performed - for example, on television or radio and concerts...

The producer of the show or film that has licensed the music does not pay these fees. Instead, large fees are paid annually by broadcasters (such as television networks and radio stations) to performing rights organizations (PRO's) such as ASCAPBMI and SESAC in the US and the PRS in the UK (Caribbean House Records is a U.S base company & may also operate in other countries such as in the EU & elsewhere), who then distribute income among their members. To ensure it is distributed fairly and accurately, most broadcasters are required to keep note of what music they have broadcast and for how long. This information is then used by the performance societies to allocate income to their members. 


Typically, a library will receive 50 percent of the performance income (this is known as the publisher's share), with the composer receiving the remaining 50 percent. Like license fees, performance income is highly variable and dependent on the nature of the usage; local radio usage will yield modest income - perhaps a few dollars each time it is played. Repeated use in a primetime network TV show can generate thousands of dollars.

Another method, in the United States, of collecting royalties for performances of production, stock, and library music is through directly negotiating royalties with composers and bypassing PRO's. BMI and ASCAP, and more recently SESAC, no longer have exclusive representation of composers for the collection of performance royalties. By directly negotiating the performance royalties with rights holders, licensees can pay less for the performance of a cue of music, and the licenser (the rights holder) can receive more than the PRO would pay. This is because of the removal of not only the administrative costs incurred through a PRO collecting royalties, but the removal of the "weight variable" which pays the highest performing songwriters and composers a portion of all fees collected.


You can submit this information to us through any of the following methods:

If you have a CHR  account, please contact us live through our "Sales &  Support" service team's account profile.


Email – [email protected]

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Steevens M Paullas-Gutt : Founder of Caribbean House Records and other other online & offline businesses. This website is more then just for music, it also contains a large amount of useful information. Read More Our Goals : We feel the needs to awaken and unite the people of our history, our ability, our culture and the truth. Music is just one of our tools to grab your attention.  Read More


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