{"id":19359,"date":"2026-08-22T16:14:19","date_gmt":"2026-08-22T16:14:19","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/jasrac-pago-a-568-990-creadores-extranjeros-el-ano-pasado-nada-de-ese-dinero-llego-a-traves-de-un-distribuidor\/"},"modified":"2026-08-22T16:14:19","modified_gmt":"2026-08-22T16:14:19","slug":"jasrac-pago-a-568-990-creadores-extranjeros-el-ano-pasado-nada-de-ese-dinero-llego-a-traves-de-un-distribuidor","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/es\/jasrac-pago-a-568-990-creadores-extranjeros-el-ano-pasado-nada-de-ese-dinero-llego-a-traves-de-un-distribuidor\/","title":{"rendered":"JASRAC pag\u00f3 a 568.990 creadores extranjeros el a\u00f1o pasado. Nada de ese dinero lleg\u00f3 a trav\u00e9s de un distribuidor."},"content":{"rendered":"<p>JASRAC distribuy\u00f3 151.857.948.386 yenes en regal\u00edas musicales durante el a\u00f1o fiscal 2025 de Jap\u00f3n, y 568.990 de los creadores a los que pag\u00f3 eran extranjeros, alcanzados a trav\u00e9s de 121 otras sociedades recaudadoras en lugar de a trav\u00e9s de ning\u00fan distribuidor.<\/p>\n<p>Esto proviene del propio <a href=\"https:\/\/www.jasrac.or.jp\/en\/information\/release\/26\/260323.html\">comunicado de resultados de distribuci\u00f3n del 23 de marzo de 2026<\/a> de la sociedad. Es el primer a\u00f1o en que JASRAC ha distribuido m\u00e1s de 150.000 millones de yenes, y solo el per\u00edodo de marzo de 2026 movi\u00f3 42.465.377.446 yenes a trav\u00e9s de 4.066.661 obras.<\/p>\n<p>CMO significa organizaci\u00f3n de gesti\u00f3n colectiva: la entidad que licencia la canci\u00f3n, a diferencia de la grabaci\u00f3n.<\/p>\n<h2>JASRAC paga a m\u00e1s autores extranjeros que japoneses<\/h2>\n<p>El lado nacional de ese comunicado corresponde a 119.298 creadores y 3.330 editores musicales. El lado extranjero corresponde a 568.990 creadores y 64.267 editores.<\/p>\n<p>Las transmisiones interactivas representaron aproximadamente 59.400 millones de yenes de la distribuci\u00f3n del a\u00f1o fiscal 2025, un aumento del 11,7 por ciento interanual.<\/p>\n<p>Tu distribuidor no toca nada de esto. La distribuci\u00f3n paga la grabaci\u00f3n master. JASRAC paga la composici\u00f3n, y le paga a tu sociedad de origen, que luego te paga a ti. Dos tuber\u00edas, un solo flujo. Nuestro <a href=\"https:\/\/interspacemusic.com\/blog\/glossary\/what-is-performance-royalty\/\">explicador sobre regal\u00edas de ejecuci\u00f3n<\/a> cubre la divisi\u00f3n en t\u00e9rminos generales; Jap\u00f3n es donde la brecha se vuelve costosa.<\/p>\n<h2>El retraso es de seis a diecisiete meses<\/h2>\n<p>JASRAC indica que el pago de marzo de 2026 refleja principalmente las regal\u00edas recaudadas entre octubre de 2024 y septiembre de 2025.<\/p>\n<p>Planifica en consecuencia. Una canci\u00f3n que llega a Tokio en noviembre no generar\u00e1 ingresos de edici\u00f3n en Londres o Lagos hasta el oto\u00f1o siguiente, como muy pronto.<\/p>\n<h2>La comisi\u00f3n es del 7,5 por ciento, y solo por un trimestre<\/h2>\n<p>La comisi\u00f3n de gesti\u00f3n est\u00e1ndar de JASRAC sobre la distribuci\u00f3n interactiva es del 9,5 por ciento. El 3 de febrero de 2026 <a href=\"https:\/\/www.jasrac.or.jp\/information\/release\/26\/260203.html\">redujo esa tasa al 7,5 por ciento solo para el per\u00edodo de distribuci\u00f3n de marzo de 2026<\/a>, junto con la radiodifusi\u00f3n (del 8,5 al 7,5 por ciento) y las ejecuciones a gran escala (del 12,5 al 10,5 por ciento).<\/p>\n<p>Hizo lo mismo para el <a href=\"https:\/\/www.jasrac.or.jp\/information\/release\/25\/250205.html\">per\u00edodo de marzo de 2025<\/a>. Trata el descuento como anual pero discrecional, no como la tarifa. Luego, tu propia sociedad toma su parte en el camino. Dos comisiones, no una.<\/p>\n<h2>Hay una segunda sociedad japonesa, y puedes dividir entre ambas<\/h2>\n<p>La relaci\u00f3n de JASRAC con los titulares de derechos es un <a href=\"https:\/\/www.jasrac.or.jp\/ejhp\/membership\/pdf\/guide.pdf\">Contrato de Fiducia de Derechos de Autor<\/a>: el derecho de autor mismo se conf\u00eda, por un per\u00edodo de tres a\u00f1os, y desde el 1 de abril de 2017 los fideicomitentes pueden elegir qu\u00e9 categor\u00edas de derechos entregar.<\/p>\n<p>NexTone, formada en febrero de 2016 a partir de la fusi\u00f3n de eLicense y Japan Rights Clearance despu\u00e9s de que la Ley de Gesti\u00f3n de Derechos de Autor pusiera fin al monopolio legal de JASRAC, utiliza un mandato de gesti\u00f3n en su lugar. El derecho de autor permanece con el autor.<\/p>\n<p>Esa es la diferencia pr\u00e1ctica. Un titular de derechos puede dejar la ejecuci\u00f3n y la radiodifusi\u00f3n con JASRAC y colocar el streaming interactivo con NexTone.<\/p>\n<p>Los <a href=\"https:\/\/www.nex-tone.co.jp\/copyright\/faq.html\">t\u00e9rminos publicados<\/a> de NexTone son inusualmente claros para una CMO:<\/p>\n<ul>\n<li>Sin tarifa de solicitud y sin cuota anual de membres\u00eda.<\/li>\n<li>Pagos el 15 de marzo, 15 de junio, 15 de septiembre y 15 de diciembre, cada uno cubriendo las recaudaciones del trimestre anterior.<\/li>\n<li>Un umbral m\u00ednimo de pago de 3.000 yenes. Por debajo de eso, nada se mueve.<\/li>\n<li>El registro de obras cierra aproximadamente diez d\u00edas antes del final de cada trimestre, es decir, el 21 de diciembre para el pago de marzo.<\/li>\n<li>Los contratos tardan de 7 a 10 d\u00edas h\u00e1biles para empresas, de 15 a 20 para individuos, quienes enfrentan un paso de preselecci\u00f3n.<\/li>\n<li>Las obras extranjeras se aceptan para la gesti\u00f3n en territorio japon\u00e9s, y desde el 1 de abril de 2022 NexTone tambi\u00e9n gestiona territorios en el extranjero.<\/li>\n<\/ul>\n<h2>Qu\u00e9 hacer antes de lanzar en Jap\u00f3n<\/h2>\n<p>Registra primero la composici\u00f3n con tu sociedad de origen, con las divisiones finales y un <a href=\"https:\/\/interspacemusic.com\/blog\/glossary\/what-is-iswc\/\">ISWC<\/a>, y hazlo antes del lanzamiento japon\u00e9s en lugar de despu\u00e9s. Las obras sin coincidencia quedan sin reclamar hasta que alguien las presente.<\/p>\n<p>Luego revisa J-WID, la base de datos p\u00fablica de obras de JASRAC, y la base de datos de obras de NexTone, y confirma que la canci\u00f3n aparezca como gestionada. Si ninguna de las dos la reclama, no habr\u00e1 pago rec\u00edproco.<\/p>\n<p>En el lado de la grabaci\u00f3n, la pregunta es simplemente si tu distribuidor entrega a los servicios japoneses donde ocurre el uso, lo cual es <a href=\"https:\/\/interspacemusic.com\/blog\/japan-is-still-mostly-physical-and-its-streaming-runs-on-line-music-that-is-a-distribution-problem\/\">un problema vigente en un mercado que todav\u00eda funciona en parte con LINE Music<\/a>. Las recaudaciones de radiodifusi\u00f3n cayeron 5,2 por ciento en el a\u00f1o fiscal 2025 cuando NHK redujo su tarifa de licencia, mientras que las recaudaciones interactivas aumentaron 9,6 por ciento a 61.820 millones de yenes, seg\u00fan <a href=\"https:\/\/news.yahoo.co.jp\/articles\/a4ba9bab24ee390c3cb815f22918fec4b6b031d3\">Bengoshi.com News el 20 de mayo de 2026<\/a>. El dinero se ha movido. Los registros que lo reclaman a menudo no lo han hecho.<\/p>\n<p>La misma disciplina se aplica a un mercado de distancia, donde <a href=\"https:\/\/interspacemusic.com\/blog\/glossary\/what-is-komca\/\">KOMCA gestiona la tuber\u00eda de edici\u00f3n del K-pop<\/a> bajo reglas diferentes.<\/p>\n","protected":false},"excerpt":{"rendered":"Las regal\u00edas de JASRAC llegaron a 568.990 creadores extranjeros en el a\u00f1o fiscal 2025 a trav\u00e9s de 121 sociedades en el extranjero, nunca a trav\u00e9s de un distribuidor. As\u00ed es como funciona el sistema de edici\u00f3n de Jap\u00f3n: una comisi\u00f3n del 7,5 por ciento, un retraso de seis a diecisiete meses y la divisi\u00f3n de NexTone que te permite conservar los derechos de autor.","protected":false},"author":3,"featured_media":19357,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"csco_display_header_overlay":false,"csco_singular_sidebar":"","csco_page_header_type":"","csco_page_load_nextpost":"","csco_post_video_location":[],"csco_post_video_location_hash":"","csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[7464],"tags":[12459,11351,40352,30075,30078],"class_list":["post-19359","post","type-post","status-publish","format-standard","has-post-thumbnail","category-industry-trends-es","tag-music-publishing-es","tag-japan-es","tag-jasrac-es","tag-musica","tag-regalias","cs-entry","cs-video-wrap"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>JASRAC pag\u00f3 a 568.990 creadores extranjeros el a\u00f1o pasado. Nada de ese dinero lleg\u00f3 a trav\u00e9s de un distribuidor.<\/title>\n<meta name=\"description\" content=\"JASRAC distribuy\u00f3 151.857.948.386 yenes en regal\u00edas musicales durante el a\u00f1o fiscal 2025 de Jap\u00f3n, y 568.990 de los creadores a los que pag\u00f3 eran extranjeros, alcanzados a trav\u00e9s de 121 otras sociedades recaudadoras en lugar de a trav\u00e9s de ning\u00fan distribuidor.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/interspacemusic.com\/blog\/es\/jasrac-pago-a-568-990-creadores-extranjeros-el-ano-pasado-nada-de-ese-dinero-llego-a-traves-de-un-distribuidor\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"JASRAC pag\u00f3 a 568.990 creadores extranjeros el a\u00f1o pasado. 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