Grantee agrees that, for the duration of the agreement, all contained real estate will be treated confidentially and would possess proprietary personal information in the same consideration as grantee. Not all royalties go directly to the writer. On the contrary, it is shared with the publisher on a 50:50 basis. In the United Kingdom, the Mechanical Copyright Protection Society (MCPS (now in alliance with PRS) acts to collect (and distribute) royalties for CDs and digital formats. It is a non-profit organization that funds its work through a commission on total revenues. The licence rate for the granting of runway licenses is 6.5% of the retail price (or 8.5% of the published wholesale price). In addition to the above, a fourth license has been created to allow webcasters „ephemeral recordings“ of a streaming audio recording (temporary copies), but with a license fee to pay. In the United States, host artists receive royalties of 10% to 25% (the proposed retail price of admission based on their popularity, but this is before deductions for „packaging,“ „break,“ „promotion sales“ and holdback for „returns“ that make a significant reduction in net license revenues. In contrast, in the United States, SoundExchange, ASCAP, IMC (Broadcast Music, Inc.) and SESAC (Society of European Stage Authors – Composers) are the four main performance rights organizations (PROs), although there are smaller companies. The fee paid to the composer and publisher is determined by the type of assessment used by the PRO to measure the use of music, as there are no external measures such as mechanical royalties or the reporting system used in the United Kingdom. Basically, a PRO summarizes the royalties that accrue to all composer-composers „who are its members,“ and each composer and publisher receives royalties based on the estimated frequency of musical performance, after deducting the costs (which are numerous). PROs are controlled agencies.
They pay their respective shares „directly“ to the songwriter and the publishing house. (If a portion of the publisher`s share is retained by the songwriter, the publisher pays that part of the publisher`s share to the songwriter).)