{"id":20572,"date":"2026-09-25T12:05:27","date_gmt":"2026-09-25T12:05:27","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/le-bresil-reserve-12-dun-stream-aux-auteurs-compositeurs-sans-editeur-vous-en-percevez-3\/"},"modified":"2026-09-25T12:05:27","modified_gmt":"2026-09-25T12:05:27","slug":"le-bresil-reserve-12-dun-stream-aux-auteurs-compositeurs-sans-editeur-vous-en-percevez-3","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/fr\/le-bresil-reserve-12-dun-stream-aux-auteurs-compositeurs-sans-editeur-vous-en-percevez-3\/","title":{"rendered":"Le Br\u00e9sil r\u00e9serve 12 % d&#8217;un stream aux auteurs-compositeurs. Sans \u00e9diteur, vous en percevez 3."},"content":{"rendered":"<p>Au Br\u00e9sil, un auteur-compositeur sans \u00e9diteur per\u00e7oit environ un quart de l&#8217;argent g\u00e9n\u00e9r\u00e9 par une \u0153uvre lors d&#8217;un stream. La convention du march\u00e9 r\u00e9serve 12 pour cent d&#8217;une \u00e9coute \u00e0 la composition, et seuls les 3 pour cent transitant par ECAD parviennent de fa\u00e7on fiable \u00e0 un auteur qui s&#8217;auto-administre.<\/p>\n<p>Les 9 autres pour cent constituent le m\u00e9canique num\u00e9rique, et le tuyau par lequel il transite a \u00e9t\u00e9 con\u00e7u pour les \u00e9diteurs.<\/p>\n<h2>Comment se r\u00e9partissent les 12 pour cent<\/h2>\n<p>Tratore, le plus grand distributeur ind\u00e9pendant du Br\u00e9sil, a d\u00e9taill\u00e9 la cha\u00eene dans un <a href=\"https:\/\/tratore.wpcomstaging.com\/2023\/05\/15\/qual-e-o-caminho-do-dinheiro-no-streaming-de-musica\/\">article explicatif de mai 2023<\/a>. La plateforme conserve g\u00e9n\u00e9ralement environ 30 pour cent, 12 pour cent vont aux droits d&#8217;auteur, et les 58 pour cent restants reviennent au distributeur ou au label.<\/p>\n<ul>\n<li><strong>3 pour cent, ex\u00e9cution publique.<\/strong> ECAD signifie Escrit\u00f3rio Central de Arrecada\u00e7\u00e3o e Distribui\u00e7\u00e3o, l&#8217;office central qui facture les plateformes parce que la Cour sup\u00e9rieure de justice du Br\u00e9sil consid\u00e8re un stream comme une ex\u00e9cution publique. Il r\u00e9mun\u00e8re les auteurs et les \u00e9diteurs via les sept associations : Abramus, Amar, Assim, Sbacem, Sicam, Socinpro et UBC. <a href=\"https:\/\/www.abramus.org.br\/noticias\/19764\/receita-digital\/\">Abramus, citant ECAD<\/a>, confirme le chiffre de 3 pour cent et la distribution trimestrielle directe.<\/li>\n<li><strong>9 pour cent, m\u00e9canique num\u00e9rique.<\/strong> Cette part revient \u00e0 UBEM, l&#8217;Uni\u00e3o Brasileira de Editoras de M\u00fasica, une organisation \u00e0 but non lucratif fond\u00e9e en mai 2010 dont les membres sont majoritairement des maisons d&#8217;\u00e9dition, selon <a href=\"https:\/\/portalpopline.com.br\/o-que-e-ubem-qual-atuacao-industria-musical\/\">L\u00e1isa Naiane de POPline<\/a>.<\/li>\n<\/ul>\n<p>Si un \u00e9diteur repr\u00e9sente l&#8217;\u0153uvre, les deux flux atterrissent chez l&#8217;\u00e9diteur, qui r\u00e9mun\u00e8re ensuite l&#8217;auteur selon le contrat. S&#8217;il n&#8217;y a pas d&#8217;\u00e9diteur, seule la part ECAD revient via l&#8217;association de l&#8217;auteur.<\/p>\n<h2>Pourquoi les 9 pour cent restent bloqu\u00e9s<\/h2>\n<p>Les propres termes de Tratore sont que pour les auteurs sans \u00e9diteur, la part UBEM \u00ab tende a ficar retida \u00bb : elle a tendance \u00e0 rester retenue, parce qu&#8217;UBEM repr\u00e9sente des \u00e9diteurs et des catalogues, pas des compositeurs individuels.<\/p>\n<p>Le traitement ne se fait m\u00eame pas au Br\u00e9sil. UBEM a recrut\u00e9 BackOffice Music Services, une soci\u00e9t\u00e9 argentine d&#8217;externalisation, apr\u00e8s qu&#8217;Apple a d\u00e9sign\u00e9 UBEM comme interm\u00e9diaire m\u00e9canique pour iTunes en 2011, <a href=\"https:\/\/portalpopline.com.br\/qual-funcao-backoffice-music-services\/\">selon POPline<\/a>. UBEM a ensuite renonc\u00e9 \u00e0 l&#8217;exclusivit\u00e9, ce qui a ouvert la voie \u00e0 des filiales num\u00e9riques li\u00e9es aux associations comme Abramus Digital et Socinpro Digital. Tous ces circuits exigent toujours un \u00e9diteur.<\/p>\n<p>Le gisement n&#8217;est pas mince. <a href=\"https:\/\/www.abramus.org.br\/noticias\/19235\/lyricfind-fecha-acordo-com-abramus-digital-e-expande-a-sua-atuacao-no-brasil\/\">Abramus Digital a indiqu\u00e9 en 2021<\/a> qu&#8217;elle repr\u00e9sentait plus de 6 millions d&#8217;\u0153uvres issues de plus de 200 \u00e9diteurs et avait distribu\u00e9 environ 65 millions de reais sur 2019 et 2020. Le chiffre d&#8217;affaires num\u00e9rique enregistr\u00e9 du Br\u00e9sil a depuis atteint 3,4 milliards de reais en 2025, selon les chiffres de Pr\u00f3-M\u00fasica Brasil rapport\u00e9s par <a href=\"https:\/\/agenciabrasil.ebc.com.br\/cultura\/noticia\/2026-03\/faturamento-do-mercado-fonografico-brasileiro-cresce-14-em-2025\">Ag\u00eancia Brasil<\/a>.<\/p>\n<h2>UBEM est un organisme professionnel, pas votre soci\u00e9t\u00e9<\/h2>\n<p>Vous ne pouvez pas adh\u00e9rer \u00e0 UBEM en tant qu&#8217;auteur, et son r\u00f4le en dehors du streaming est contest\u00e9. En f\u00e9vrier 2025, l&#8217;autorit\u00e9 de la concurrence du Br\u00e9sil <a href=\"https:\/\/www.gov.br\/cade\/pt-br\/assuntos\/noticias\/sg-cade-instaura-processo-administrativo-e-impoe-medida-preventiva-no-mercado-de-licenciamento-musical\">CADE a ouvert la proc\u00e9dure 08700.008710\/2024-88<\/a> contre elle concernant des grilles de prix minimums dans le licensing sync, \u00e0 la suite d&#8217;une plainte de la cha\u00eene SBT, et lui a ordonn\u00e9 de ciser toute n\u00e9gociation collective dans l&#8217;intervalle.<\/p>\n<p>L&#8217;affaire porte sur le sync, pas sur le streaming. C&#8217;est n\u00e9anmoins un rappel que l&#8217;\u00e9diteur par lequel vous passez devient la partie qui n\u00e9gocie vos chansons.<\/p>\n<h2>Ce qu&#8217;un auteur-compositeur en autoproduction devrait faire<\/h2>\n<h3>Choisir un circuit pour les 9 pour cent<\/h3>\n<ul>\n<li><strong>Repr\u00e9sentation pour recouvrement uniquement.<\/strong> L&#8217;accord Digi_Tratore de Tratore permet au distributeur de repr\u00e9senter l&#8217;\u0153uvre aupr\u00e8s d&#8217;UBEM pour le recouvrement tandis que la composition reste sous l&#8217;administration directe de l&#8217;auteur, sans qu&#8217;il s&#8217;agisse d&#8217;un contrat d&#8217;\u00e9dition. Demandez \u00e0 tout distributeur s&#8217;il propose un \u00e9quivalent.<\/li>\n<li><strong>Votre propre editora.<\/strong> Enregistrez une soci\u00e9t\u00e9 d&#8217;\u00e9dition et affiliez-la \u00e0 la filiale num\u00e9rique d&#8217;une association. Plus de paperasse, mais aucune part c\u00e9d\u00e9e.<\/li>\n<li><strong>Un contrat d&#8217;\u00e9dition ou d&#8217;administration.<\/strong> Le plus simple, mais vous c\u00e9dez un pourcentage contractuel et, souvent, le contr\u00f4le du sync.<\/li>\n<\/ul>\n<h3>Puis r\u00e9parer la tuyauterie<\/h3>\n<ul>\n<li>Inscrivez d&#8217;abord chaque \u0153uvre aupr\u00e8s de votre association, sinon les 3 pour cent \u00e9chouent aussi. Notre analyse du <a href=\"https:\/\/interspacemusic.com\/blog\/brazil-charges-streaming-as-public-performance-august-payout-january-plays\/\">fonctionnement des paiements ECAD sur le streaming<\/a> couvre le d\u00e9calage trimestriel.<\/li>\n<li>Assurez-vous que les donn\u00e9es de l&#8217;\u0153uvre parviennent au processeur m\u00e9canique. BackOffice ing\u00e8re les enregistrements en CWR, c&#8217;est-\u00e0-dire Common Works Registration, et en ISWC, l&#8217;International Standard Musical Work Code, <a href=\"https:\/\/www.inoveplay.com.br\/noticias\/backoffice-music-pagamento-do-digital-TRRl\">selon l&#8217;\u00e9diteur Inoveplay<\/a>.<\/li>\n<li>Consid\u00e9rez les chiffres 12, 9 et 3 comme une convention de march\u00e9 rapport\u00e9e par Tratore, et non comme une disposition l\u00e9gale. Confirmez le partage actuel par \u00e9crit.<\/li>\n<li>Exigez les m\u00e9caniques num\u00e9riques br\u00e9siliennes sur une ligne distincte de votre relev\u00e9. Si vous ne les voyez pas, consid\u00e9rez qu&#8217;elles ne sont pas recouvr\u00e9es.<\/li>\n<\/ul>\n<p>Les partages entre co-auteurs compliquent les choses, comme le montre <a href=\"https:\/\/interspacemusic.com\/blog\/brazilian-phonk-money-splits-problem-montagem-argentina-400-million-spotify\/\">le probl\u00e8me de cr\u00e9dits du phonk br\u00e9silien<\/a>. Un distributeur paie le c\u00f4t\u00e9 master, qu&#8217;InterSpace Distribution reporte ligne par ligne avec des partages multi-parties, mais le c\u00f4t\u00e9 composition est une cr\u00e9ance distincte que vous seul pouvez mettre en place. Pour le c\u00f4t\u00e9 enregistrement, consultez notre <a href=\"https:\/\/interspacemusic.com\/blog\/music-distribution-platforms-brazilian-artists\/\">guide de la distribution depuis le Br\u00e9sil<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"Les redevances m\u00e9caniques du streaming au Br\u00e9sil expliqu\u00e9es : 12 % de chaque \u00e9coute revient au morceau, mais un auteur-compositeur sans \u00e9diteur ne per\u00e7oit que les 3 % vers\u00e9s via ECAD. Voici o\u00f9 se trouvent les 9 % restants, pourquoi ils sont retenus et trois voies pour les r\u00e9clamer.","protected":false},"author":1,"featured_media":20570,"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":[29763],"tags":[8315,26886,12450,29813,45271,39325,6672],"class_list":["post-20572","post","type-post","status-publish","format-standard","has-post-thumbnail","category-bonnes-pratiques","tag-brazil-fr","tag-ecad-fr","tag-music-publishing-fr","tag-musique","tag-mechanical-royalties-fr","tag-royalties-fr","tag-spotify-en-fr","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>Le Br\u00e9sil r\u00e9serve 12 % d&#039;un stream aux auteurs-compositeurs. 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Sans \u00e9diteur, vous en percevez 3.\" \/>\n<meta property=\"og:description\" content=\"Au Br\u00e9sil, un auteur-compositeur sans \u00e9diteur per\u00e7oit environ un quart de l&#039;argent g\u00e9n\u00e9r\u00e9 par une \u0153uvre lors d&#039;un stream.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/interspacemusic.com\/blog\/fr\/le-bresil-reserve-12-dun-stream-aux-auteurs-compositeurs-sans-editeur-vous-en-percevez-3\/\" \/>\n<meta property=\"og:site_name\" content=\"The InterSpace Daily.\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/facebook.com\/interspacemusic\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-25T12:05:27+00:00\" \/>\n<meta name=\"author\" content=\"Dave Ayodeji\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@interspacegroup\" \/>\n<meta name=\"twitter:site\" content=\"@interspacegroup\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dave Ayodeji\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":[\"Article\",\"BlogPosting\"],\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/fr\\\/le-bresil-reserve-12-dun-stream-aux-auteurs-compositeurs-sans-editeur-vous-en-percevez-3\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/fr\\\/le-bresil-reserve-12-dun-stream-aux-auteurs-compositeurs-sans-editeur-vous-en-percevez-3\\\/\"},\"author\":{\"name\":\"Dave Ayodeji\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#\\\/schema\\\/person\\\/9d06a0edee2164461b4e12bf93a861f0\"},\"headline\":\"Le Br\u00e9sil r\u00e9serve 12 % d&#8217;un stream aux auteurs-compositeurs. 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