{"id":24019,"date":"2026-10-27T17:54:00","date_gmt":"2026-10-27T17:54:00","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/game-composers-miss-performance-royalties-panel-told\/"},"modified":"2026-10-27T17:54:00","modified_gmt":"2026-10-27T17:54:00","slug":"game-composers-miss-performance-royalties-panel-told","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/game-composers-miss-performance-royalties-panel-told\/","title":{"rendered":"Game Composers Miss Performance Royalties, Panel Told"},"content":{"rendered":"

Video game composers largely miss out on the performance royalties that film and TV composers collect, according to speakers on a panel about game music rights. They urged composers to register their works, understand how royalties are collected and plan beyond one-off buyouts.<\/p>\n

Materia Music<\/strong> CEO Sebastian Wolff<\/strong> moderated the session. The lineup spanned much of the royalty chain: a publisher, a PRO (performance rights organization), a record label and a global publishing administrator.<\/p>\n

Planning in decades<\/h2>\n

Wolff opened by telling the room: \u201cMake sure that you\u2019re planning in decades and really maximizing the value of your music, maybe even beyond the buyout.\u201d<\/p>\n

He also gauged the audience\u2019s familiarity with music rights. After asking who was affiliated with a PRO, he said a similar panel a decade earlier drew \u201ca lot of question marks from the audience,\u201d and called the change \u201cso good to see.\u201d<\/p>\n

But when he asked who had ever been paid by Harry Fox, SoundExchange<\/a> or the MLC<\/a> (Mechanical Licensing Collective), his assessment was blunt: \u201cthere\u2019s still a lot of work to do.\u201d<\/p>\n

Two copyrights and a fragmented collection system<\/h2>\n

Every recording carries two copyrights: a composition copyright, managed by publishers, and a master copyright, managed by labels. Most composers, the panel suggested, are aware of only one income source.<\/p>\n

Hegarty described how the streaming era changed mechanical royalties, with DSPs (digital service providers) now paying the MLC rather than labels. Eames added that the MLC covers only the US, so royalties generated abroad must be collected separately.<\/p>\n

Stephens said streaming turned \u201ca river of nickels\u201d into \u201cbillions of micro-pennies.\u201d PROs license music wherever it is heard, from streaming services to the bar down the street. \u201cAnywhere where your music is heard publicly is a performance right,\u201d he said.<\/p>\n

Foreign income and registration gaps<\/h2>\n

Money earned abroad depends on reciprocal agreements between collection societies<\/a>. Some societies are well run, while others are government run, and part of the earnings can go to local cultural funds before reaching the composer\u2019s home PRO.<\/p>\n

Transparency is a recurring problem. \u201cAs far as what source was paid for what writer from what project, there\u2019s a lot of difficulty that we\u2019re dealing with there,\u201d Stephens said.<\/p>\n

Eames said the system waits for money to arrive instead of looking for it. \u201cThe reciprocal agreement framework and network is more reactionary than pro-action,\u201d he said. With roughly 140 collection societies<\/strong> worldwide, each running its own database, unregistered works can go unpaid<\/a>.<\/p>\n

He said studios will not close that gap: \u201c[studios] exist to sell video games. They\u2019re not there to collect money from music royalties.\u201d For composers who do not control their rights, his advice was: \u201cyou have to become your own policeman, or money\u2019s being left on the table.\u201d<\/p>\n

Eames also pointed to a growing income stream for game composers. Orchestral video game concerts tour constantly, and registered works can earn local performance royalties from those shows.<\/p>\n

The case for monetizing game music publishing<\/h2>\n

McNellis<\/strong> made what the panel treated as its central argument, calling game music publishing \u201cthe single largest unmonetized asset in the history of the entertainment business.\u201d He compared it to \u201chaving a Ferrari on blocks in the garage. You can rev it up, but it ain\u2019t leaving the garage.\u201d<\/p>\n

He framed it as an artist-rights issue, saying \u201cyour peers that are working in linear media are buying houses in Malibu.\u201d He has since come to see it as a larger business problem.<\/p>\n

His argument rests on how the services work. Streaming a show on Netflix and streaming a game from Xbox, PlayStation or Steam function the same way. \u201cYou pay a subscription, it streams from a server, it lands at your house, and you determine what you\u2019re watching,\u201d he said.<\/p>\n

Yet film and TV composers earn performance royalties and game composers largely do not. McNellis noted that the UK\u2019s PRS has made progress under a rule that treats a download as a broadcast, while in the US a stream already counts as one.<\/p>\n

He said the stakes extend beyond composers. \u201cThe video game industry is sitting on a mountain of gold and they\u2019re throwing dirt on top of it,\u201d he said. On the gap in payouts, he added: \u201cWhatever the number is for linear media, that number for video games is a .00 decimal.\u201d<\/p>\n

McNellis said that once game music publishing is treated as an asset class, it can be borrowed against, leveraged, sold and monetized, and the proceeds can go into gaming budgets. He said the effort is not adversarial: \u201cThis isn\u2019t composers versus publishers. This isn\u2019t composers versus developers. It\u2019s not an us versus them problem.\u201d<\/p>\n

The Fallout example<\/h2>\n

Eames recalled that composer Inon Zur<\/strong> came to him with seven hours of music from a Fallout<\/em> expansion. \u201cHe dumped a huge hard drive in my lap and I have seven hours of music and 123 individual pieces of music that I registered at BMI,\u201d Eames said.<\/p>\n

His advice for work-for-hire composers is to write registration into the deal. \u201cThere is a contractual legal obligation that all of that music has to get properly registered in all of the places in which it needs to be registered,\u201d he said. His rule: if a song is not registered, \u201cyou won\u2019t get paid. End of story.\u201d<\/p>\n

The panel used Fallout<\/em> to illustrate the gap between television and games. BMI composer Ramin Djawadi<\/strong> collects performance royalties when the Fallout<\/em> series streams on Amazon. Zur, who scored the games, likely does not see comparable income from the series.<\/p>\n

Licensing progress at the PROs<\/h2>\n

Stephens described licensing developments from BMI\u2019s side:<\/p>\n

    \n
  • Sony struck a deal with PRS in the UK around 2018 that was \u201cessentially paying writers and publishers royalties on these video games.\u201d<\/li>\n
  • Twitch has been simpler to license, he said, because the data it collects makes it easy to see who should be paid.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"Speakers on a music rights panel said video game composers largely go without performance royalties that film and TV composers receive, and urged them to register works and plan for the long term.","protected":false},"author":7,"featured_media":24020,"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":[512],"tags":[46813,51492,617,2452,51490,47971],"class_list":["post-24019","post","type-post","status-publish","format-standard","has-post-thumbnail","category-industry-news","tag-bmi","tag-materia-music","tag-music-publishing","tag-performance-royalties","tag-pros","tag-video-game-music","cs-entry","cs-video-wrap"],"yoast_head":"\nGame 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