{"id":20573,"date":"2026-09-25T12:05:27","date_gmt":"2026-09-25T12:05:27","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/brasil-destina-el-12-por-ciento-de-un-stream-para-los-compositores-sin-una-editorial-cobras-3\/"},"modified":"2026-09-25T12:05:27","modified_gmt":"2026-09-25T12:05:27","slug":"brasil-destina-el-12-por-ciento-de-un-stream-para-los-compositores-sin-una-editorial-cobras-3","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/es\/brasil-destina-el-12-por-ciento-de-un-stream-para-los-compositores-sin-una-editorial-cobras-3\/","title":{"rendered":"Brasil destina el 12 por ciento de un stream para los compositores. Sin una editorial, cobras 3."},"content":{"rendered":"<p>En Brasil, un compositor sin editora recauda aproximadamente una cuarta parte del dinero que genera una reproducci\u00f3n de una canci\u00f3n. La convenci\u00f3n del mercado reserva un 12 por ciento de una reproducci\u00f3n para la composici\u00f3n, y solo el 3 por ciento que pasa por ECAD llega de forma confiable a un autor que se autogestiona.<\/p>\n<p>El otro 9 por ciento es el mec\u00e1nico digital, y el conducto por el que viaja fue dise\u00f1ado para las editoras.<\/p>\n<h2>C\u00f3mo se divide el 12 por ciento<\/h2>\n<p>Tratore, el mayor distribuidor independiente de Brasil, detall\u00f3 la cadena en una <a href=\"https:\/\/tratore.wpcomstaging.com\/2023\/05\/15\/qual-e-o-caminho-do-dinheiro-no-streaming-de-musica\/\">explicaci\u00f3n de mayo de 2023<\/a>. La plataforma generalmente se queda con alrededor del 30 por ciento, el 12 por ciento va a los derechos autorales y el 58 por ciento restante fluye hacia el distribuidor o el sello.<\/p>\n<ul>\n<li><strong>3 por ciento, ejecuci\u00f3n p\u00fablica.<\/strong> ECAD significa Escrit\u00f3rio Central de Arrecada\u00e7\u00e3o e Distribui\u00e7\u00e3o, la oficina central que cobra a las plataformas porque el Superior Tribunal de Justicia de Brasil trata una reproducci\u00f3n en streaming como ejecuci\u00f3n p\u00fablica. Paga a autores y editoras a trav\u00e9s de las siete asociaciones: Abramus, Amar, Assim, Sbacem, Sicam, Socinpro y UBC. <a href=\"https:\/\/www.abramus.org.br\/noticias\/19764\/receita-digital\/\">Abramus, citando a ECAD<\/a>, confirma la cifra del 3 por ciento y la distribuci\u00f3n trimestral y directa.<\/li>\n<li><strong>9 por ciento, mec\u00e1nico digital.<\/strong> Esta parte va a UBEM, la Uni\u00e3o Brasileira de Editoras de M\u00fasica, una organizaci\u00f3n sin fines de lucro fundada en mayo de 2010 cuyos miembros son en su mayor\u00eda empresas editoras, seg\u00fan <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 una editora representa la obra, ambos flujos llegan a la editora, que luego paga al autor seg\u00fan el contrato. Si no hay editora, solo la parte de ECAD regresa a trav\u00e9s de la asociaci\u00f3n del autor.<\/p>\n<h2>Por qu\u00e9 el 9 por ciento se queda atrapado<\/h2>\n<p>Las propias palabras de Tratore son que para los autores sin editora, la parte de UBEM &#8220;tende a ficar retida&#8221;: tiende a quedar retenida, porque UBEM representa a editoras y cat\u00e1logos, no a compositores individuales.<\/p>\n<p>El procesamiento ni siquiera est\u00e1 en Brasil. UBEM contrat\u00f3 a BackOffice Music Services, una firma argentina de externalizaci\u00f3n, despu\u00e9s de que Apple designara a UBEM como su intermediaria de mec\u00e1nicos de iTunes en 2011, seg\u00fan <a href=\"https:\/\/portalpopline.com.br\/qual-funcao-backoffice-music-services\/\">report\u00f3 POPline<\/a>. UBEM luego renunci\u00f3 a la exclusividad, lo que abri\u00f3 espacio para brazos digitales vinculados a asociaciones como Abramus Digital y Socinpro Digital. Todas esas rutas siguen requiriendo una editora.<\/p>\n<p>El monto no es peque\u00f1o. <a href=\"https:\/\/www.abramus.org.br\/noticias\/19235\/lyricfind-fecha-acordo-com-abramus-digital-e-expande-a-sua-atuacao-no-brasil\/\">Abramus Digital dijo en 2021<\/a> que representaba m\u00e1s de 6 millones de obras de m\u00e1s de 200 editoras y distribuy\u00f3 aproximadamente R$65 millones entre 2019 y 2020. Los ingresos digitales grabados de Brasil han alcanzado desde entonces R$3.4 mil millones en 2025, seg\u00fan cifras de Pr\u00f3-M\u00fasica Brasil reportadas por <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 es una entidad gremial, no tu sociedad<\/h2>\n<p>No puedes unirte a UBEM como autor, y su papel fuera del streaming es controvertido. En febrero de 2025 la autoridad de competencia de Brasil <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 abri\u00f3 el procedimiento 08700.008710\/2024-88<\/a> contra ella por tablas de precios m\u00ednimos en licencias de sincronizaci\u00f3n, tras una denuncia de la cadena de televisi\u00f3n SBT, y le orden\u00f3 dejar de negociar colectivamente mientras tanto.<\/p>\n<p>El caso trata sobre sincronizaci\u00f3n, no sobre streaming. Aun as\u00ed, es un recordatorio de que cualquier editora por la que enrutes se convierte en la parte que negocia tus canciones.<\/p>\n<h2>Lo que deber\u00eda hacer un compositor que publica por su cuenta<\/h2>\n<h3>Elegir una ruta hacia el 9 por ciento<\/h3>\n<ul>\n<li><strong>Representaci\u00f3n solo de cobranza.<\/strong> El acuerdo Digi_Tratore de Tratore permite al distribuidor representar la obra ante UBEM para cobranza mientras la composici\u00f3n permanece bajo la administraci\u00f3n directa del autor, sin que sea un contrato de edici\u00f3n. Pregunta a cualquier distribuidor si ofrece algo equivalente.<\/li>\n<li><strong>Tu propia editora.<\/strong> Registra una empresa editora y af\u00edliela al brazo digital de una asociaci\u00f3n. M\u00e1s papeleo, pero no cedes ning\u00fan porcentaje.<\/li>\n<li><strong>Un contrato de edici\u00f3n o de administraci\u00f3n.<\/strong> Lo m\u00e1s sencillo, pero cedes un porcentaje contractual y, a menudo, el control de la sincronizaci\u00f3n.<\/li>\n<\/ul>\n<h3>Luego arregla la ca\u00f1er\u00eda<\/h3>\n<ul>\n<li>Registra cada obra con tu asociaci\u00f3n primero, o el 3 por ciento tambi\u00e9n falla. Nuestro an\u00e1lisis de <a href=\"https:\/\/interspacemusic.com\/blog\/brazil-charges-streaming-as-public-performance-august-payout-january-plays\/\">c\u00f3mo paga ECAD el streaming<\/a> cubre el retraso trimestral.<\/li>\n<li>Aseg\u00farate de que los datos de la obra lleguen al procesador mec\u00e1nico. BackOffice ingiere registros en CWR, es decir, Common Works Registration, e ISWC, el International Standard Musical Work Code, <a href=\"https:\/\/www.inoveplay.com.br\/noticias\/backoffice-music-pagamento-do-digital-TRRl\">seg\u00fan la editora Inoveplay<\/a>.<\/li>\n<li>Trata el 12, el 9 y el 3 como una convenci\u00f3n de mercado reportada por Tratore, no como una ley. Confirma la divisi\u00f3n actual por escrito.<\/li>\n<li>Pide los mec\u00e1nicos digitales brasile\u00f1os como una l\u00ednea separada en el estado de cuenta. Si no puedes verlo, asume que no se est\u00e1 cobrando.<\/li>\n<\/ul>\n<p>Las divisiones entre coautores hacen esto m\u00e1s dif\u00edcil, como muestra <a href=\"https:\/\/interspacemusic.com\/blog\/brazilian-phonk-money-splits-problem-montagem-argentina-400-million-spotify\/\">el problema de cr\u00e9ditos del phonk brasile\u00f1o<\/a>. Un distribuidor paga el lado del m\u00e1ster, que InterSpace Distribution reporta l\u00ednea por l\u00ednea con divisiones entre m\u00faltiples partes, pero el lado de la canci\u00f3n es un reclamo separado que solo t\u00fa puedes configurar. Para el lado de la grabaci\u00f3n, consulta nuestra <a href=\"https:\/\/interspacemusic.com\/blog\/music-distribution-platforms-brazilian-artists\/\">gu\u00eda para distribuir desde Brasil<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"Regal\u00edas mec\u00e1nicas de streaming en Brasil explicadas: el 12 por ciento de cada reproducci\u00f3n va a la canci\u00f3n, pero un compositor sin editora solo cobra el 3 por ciento pagado a trav\u00e9s de ECAD. Aqu\u00ed explicamos d\u00f3nde est\u00e1 ese otro 9 por ciento, por qu\u00e9 se retiene y tres rutas para reclamarlo.","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":[15702],"tags":[8335,26890,12459,30075,30078,45278,6692],"class_list":["post-20573","post","type-post","status-publish","format-standard","has-post-thumbnail","category-best-practices-es","tag-brazil-es","tag-ecad-es","tag-music-publishing-es","tag-musica","tag-regalias","tag-mechanical-royalties-es","tag-spotify-en-es","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>Brasil destina el 12 por ciento de un stream para los compositores. 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Sin una editorial, cobras 3.\" \/>\n<meta property=\"og:description\" content=\"En Brasil, un compositor sin editora recauda aproximadamente una cuarta parte del dinero que genera una reproducci\u00f3n de una canci\u00f3n.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/interspacemusic.com\/blog\/es\/brasil-destina-el-12-por-ciento-de-un-stream-para-los-compositores-sin-una-editorial-cobras-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\\\/es\\\/brasil-destina-el-12-por-ciento-de-un-stream-para-los-compositores-sin-una-editorial-cobras-3\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/es\\\/brasil-destina-el-12-por-ciento-de-un-stream-para-los-compositores-sin-una-editorial-cobras-3\\\/\"},\"author\":{\"name\":\"Dave Ayodeji\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#\\\/schema\\\/person\\\/9d06a0edee2164461b4e12bf93a861f0\"},\"headline\":\"Brasil destina el 12 por ciento de un stream para los compositores. 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