{"id":20734,"date":"2026-09-29T00:09:26","date_gmt":"2026-09-29T00:09:26","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/el-registro-de-regalias-es-global-pero-el-pago-es-local\/"},"modified":"2026-09-29T00:09:26","modified_gmt":"2026-09-29T00:09:26","slug":"el-registro-de-regalias-es-global-pero-el-pago-es-local","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/es\/el-registro-de-regalias-es-global-pero-el-pago-es-local\/","title":{"rendered":"El registro de regal\u00edas es global, pero el pago es local"},"content":{"rendered":"

Las historias m\u00e1s reveladoras de la industria musical esta semana no tratan sobre reproducciones, \u00e9xitos o momentos virales. Tratan sobre libros contables: qui\u00e9n recauda el dinero, qui\u00e9n se lo queda y qui\u00e9n espera. De Tallinn a Dar es Salaam y a Zagreb, la industria se ha vuelto experta en contar regal\u00edas, pero sigue teniendo dificultades para hacerlas llegar a las manos correctas.<\/p>\n

La calle de regal\u00edas de un solo sentido<\/h2>\n

La sociedad de compositores de Estonia, EA\u00dc, ofrece un ejemplo contundente. En 2025, EA\u00dc pag\u00f3 5.3 millones de euros a sociedades extranjeras<\/a> y recibi\u00f3 aproximadamente 437,665 euros de vuelta. Eso es una salida de doce a uno para un mercado peque\u00f1o, y plantea una pregunta directa: \u00bfes esto reciprocidad o dependencia? Para un pa\u00eds de 1.3 millones de habitantes, el desequilibrio es estructural, no estacional.<\/p>\n

Croacia muestra el mismo libro contable desde otro \u00e1ngulo. HDS ZAMP recaud\u00f3 5.9 millones de euros en regal\u00edas de conciertos en 2025<\/a>, m\u00e1s que todas las plataformas de streaming, video y redes sociales combinadas. Sin embargo, 400,189 euros est\u00e1n sin reclamar porque los setlists no se han emparejado con las obras. El dinero existe; el papeleo no. En una econom\u00eda de m\u00fasica en vivo, el setlist es la factura, y demasiadas facturas est\u00e1n en blanco.<\/p>\n

La pol\u00edtica decide qui\u00e9n cobra<\/h2>\n

La brecha entre recaudaci\u00f3n y pago no siempre es un accidente. En Gab\u00f3n, la ordenanza de derechos de autor de 2024 fija los derechos conexos en apenas 20 a\u00f1os. Despu\u00e9s de eso, las regal\u00edas van a un fondo BUGADA, no al propietario del m\u00e1ster<\/a>, aunque los bares sigan pagando. La grabaci\u00f3n sigue generando ingresos; el propietario deja de recibirlos. Esa es una decisi\u00f3n pol\u00edtica deliberada sobre qui\u00e9n merece beneficiarse de la larga cola de un cat\u00e1logo.<\/p>\n

El sistema de Tanzania es m\u00e1s transparente pero a\u00fan tiene fugas. Los pagos m\u00e1s grandes de regal\u00edas musicales del pa\u00eds provienen de un impuesto de derechos de autor del 1.5 por ciento de COSOTA sobre dispositivos de grabaci\u00f3n y medios v\u00edrgenes. Alrededor del 60 por ciento llega a los artistas<\/a>, lo que significa que cuatro de cada diez chelines desaparecen antes de la distribuci\u00f3n. Eso no es un fallo t\u00e9cnico; es un fallo administrativo y pol\u00edtico. Cuando el impuesto es el fondo m\u00e1s grande, la eficiencia de ese fondo se convierte en el techo de toda la industria nacional.<\/p>\n

Vietnam tambi\u00e9n est\u00e1 ajustando su capa de pol\u00edticas. La deducci\u00f3n del impuesto sobre regal\u00edas se duplic\u00f3 a 20 millones de VND por contrato el 1 de julio de 2026, con una tasa del 5 por ciento. El Decreto 253 cierra las lagunas de pagos a plazos y contratos<\/a>, pero el art\u00edculo se\u00f1ala que para la mayor\u00eda de los artistas la cifra m\u00e1s importante es 500 millones, un umbral que sigue determinando cu\u00e1nto vale realmente aceptar un contrato. El alivio fiscal ayuda, pero solo si la estructura del contrato subyacente permite a los artistas acceder a ese alivio en primer lugar.<\/p>\n

El momento de exportaci\u00f3n africana choca con la pol\u00edtica de categor\u00edas<\/h2>\n

Mientras algunos territorios endurecen sus reglas, los artistas africanos se expanden hacia afuera. Jon Muq ha lanzado Shake It Africa, un sello discogr\u00e1fico y una empresa de entretenimiento en vivo<\/a> enfocada en conectar a los artistas africanos con audiencias globales. Esa es una respuesta directa a la brecha de exportaci\u00f3n visible en los n\u00fameros de Estonia: si las regal\u00edas no regresan, los artistas deben construir sus propias rutas. El sello no es solo un proyecto comercial; es una cobertura contra un sistema global de regal\u00edas que a menudo fluye en un solo sentido.<\/p>\n

Pero los guardianes globales tambi\u00e9n est\u00e1n cambiando. Los MTV VMAs 2026 se transmiten esta noche sin una categor\u00eda de Mejor Afrobeats por primera vez en tres a\u00f1os. Burna Boy y Tems compiten en categor\u00edas principales en su lugar<\/a>. Eso puede parecer progreso, pero tambi\u00e9n elimina un espacio dedicado de descubrimiento para la m\u00fasica africana en un momento en que la infraestructura de exportaci\u00f3n del continente sigue siendo fr\u00e1gil. Ser integrado al mainstream puede significar ser absorbido, no elevado.<\/p>\n

La maquinaria se acelera, de manera selectiva<\/h2>\n

Algunas partes de la industria se mueven m\u00e1s r\u00e1pido. Minds on Fire redujo su tiempo de procesamiento de pagos de regal\u00edas de dos semanas a unas pocas horas tras adoptar Tipalti Mass Payments<\/a>. Ese es el tipo de soluci\u00f3n operativa que marca una diferencia real para los artistas independientes que esperan flujo de caja. La velocidad no es glamorosa, pero es solvencia.<\/p>\n

Mientras tanto, los jugadores m\u00e1s grandes est\u00e1n invirtiendo en inteligencia m\u00e1s que en distribuci\u00f3n. Universal Music Group<\/a> ha nombrado al exdirector de ingenier\u00eda de Spotify<\/a> \u00d2scar Celma como vicepresidente senior de IA aplicada y aprendizaje autom\u00e1tico<\/a>. Qobuz<\/a> ha a\u00f1adido etiquetas de IA a nivel de lanzamiento a su interfaz de streaming<\/a>, respaldadas por software de detecci\u00f3n interno y nuevas cifras de fraude. El patr\u00f3n es claro: el dinero se gasta en saber m\u00e1s sobre la m\u00fasica, no necesariamente en pagar m\u00e1s r\u00e1pido a las personas que la crearon. El etiquetado con IA y la detecci\u00f3n de fraude importan, pero no mueven un solo euro de Tallinn a un compositor en Lagos.<\/p>\n

Tambi\u00e9n hay una respuesta institucional m\u00e1s silenciosa. Kentucky ha establecido una Oficina del Gobernador de M\u00fasica<\/a> para apoyar la industria musical del estado, y empresas como Dolby Theatre<\/a> y Blue Raincoat Music est\u00e1n publicando nuevas vacantes en instalaciones, marketing digital, operaciones y contrataci\u00f3n de talento<\/a>. Estos movimientos sugieren que la industria est\u00e1 profesionalizando su capa intermedia, pero la pregunta sigue siendo si esa capa se conecta con los artistas en la parte inferior del libro contable.<\/p>\n

Qu\u00e9 significa esto para los artistas<\/h2>\n

Las historias de la semana apuntan a una lista pr\u00e1ctica de verificaci\u00f3n. Primero, traten los setlists como documentos financieros, no como recuerdos. Los 400,189 euros sin reclamar de Croacia son una advertencia de que las presentaciones no registradas son dinero sin reclamar. Env\u00eden su setlist cada noche, incluso cuando el promotor diga que no importa.<\/p>\n

Segundo, conozcan la capa de pol\u00edticas de su territorio antes de firmar. El plazo de derechos conexos de 20 a\u00f1os de Gab\u00f3n, la transferencia del 60 por ciento de Tanzania y la deducci\u00f3n de 20 millones de VND de Vietnam cambian el valor real de un contrato. Un contrato que se ve id\u00e9ntico en dos pa\u00edses puede pagar de manera muy diferente despu\u00e9s de que se apliquen las reglas locales.<\/p>\n

Tercero, no esperen reciprocidad. La salida de doce a uno de Estonia demuestra que los mercados peque\u00f1os no pueden asumir que las sociedades extranjeras devolver\u00e1n lo que recaudan. Construir relaciones directas, como Jon Muq est\u00e1 haciendo con Shake It Africa, puede ser la \u00fanica cobertura confiable.<\/p>\n

Finalmente, exijan velocidad donde puedan. Minds on Fire demostr\u00f3 que los ciclos de pago pueden reducirse de semanas a horas con la infraestructura adecuada. Si un distribuidor o sello les dice que un pago de dos semanas es normal, el libro contable dice lo contrario. El dinero se est\u00e1 recaudando; la pregunta es si ustedes est\u00e1n en la lista para recibirlo.<\/p>\n","protected":false},"excerpt":{"rendered":"La industria sabe contar regal\u00edas con fluidez, pero trasladarlas a las manos correctas sigue siendo un problema de pol\u00edticas e infraestructura.","protected":false},"author":3,"featured_media":20732,"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":[7338,7347,7668,17380,10452,30078],"class_list":["post-20734","post","type-post","status-publish","format-standard","has-post-thumbnail","category-industry-trends-es","tag-copyright-es","tag-music-industry-es","tag-african-music-es","tag-global-music-es","tag-music-policy-es","tag-regalias","cs-entry","cs-video-wrap"],"yoast_head":"\nEl 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