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How to Work with Performing & Mechanical Rights Organizations

Home > Licensing Our Music (for International Users) > How to Work with Performing & Mechanical Rights Organizations

Here is guidance for broadcasters, public venues, and users covered under PRO blanket licenses.

Contents

  • Important Note on Licensing Categories
  • Updates Regarding Japan (2024— )
  • PRO Case 1 — Your country’s PRO is in alliance with JASRAC
  • PRO Case 2 — When your country has no PRO in alliance with JASRAC
  • PRO Case 3 — No allied Mechanical Rights Organization
  • Note: Master Recording License
  • List of PRO/MROs in alliance with JASRAC

Important Note on Licensing Categories

This page explains how Performance Rights Organizations (PROs) and Mechanical Rights Organizations (MROs) handle rights related to broadcasting, public performance, and mechanical reproduction.

This page does not apply to the following types of uses:

  • Commercials
  • Games
  • Corporate videos
  • Film trailers
  • Apps
  • Branded content
  • Monetized online videos

All of these uses require a direct sync license from Model Electronic Records.

Updates Regarding Japan (2024— )

Note for international users:

Although the domestic administration of Tatsuya’s self-published works has moved from JASRAC to NexTone, this applies only to users operating within Japan. For all international uses, JASRAC continues to administer these works through its reciprocal agreements with overseas PROs.

  • JASRAC Song Database (J-WID)
  • JASRAC International Information

If you intend to use music from Model Electronic Records within Japan, please refer to the Japanese-language licensing guide on Tatsuya Oe’s official website:
Licensing Guide (Japanese)

PRO Case 1 — Your country’s PRO is in alliance with JASRAC

If your local PRO/MRO has a reciprocal agreement with JASRAC, the procedures are:

1. Performance Rights (Broadcast / Public Performance)

If you use our music in:

  • TV programs
  • Radio programs
  • Films
  • Live or public venues

→ Submit the cue sheet or public performance report to your local PRO.

2. Mechanical Rights (Physical or Audio-only Reproduction)

If you manufacture:

  • CDs
  • Vinyl
  • Audio-only media

→ Consult your PRO/MRO for mechanical licensing before or at the same time you contact us.

If performance and mechanical rights are handled by separate societies
(e.g., the United States: ASCAP/BMI/SESAC vs. Harry Fox/MLC)
→ Contact both organizations according to your usage.

PRO Case 2 — When your country has no PRO in alliance with JASRAC

If, for any reason, there is no local PRO/MRO in your country that has a reciprocal agreement with JASRAC, then:

  • Broadcast and public performance uses of our music generally cannot be cleared via local blanket licenses.
  • You may still request a sync-only license (e.g., for online video), which can be handled directly with Model Electronic Records.

In practice, most major countries and territories do have PROs that work with JASRAC.
However, if you are unsure about the status in your country, it is advisable to:

  • Check JASRAC’s list of overseas affiliated societies
  • Contact your local PRO directly for confirmation

PRO Case 3 — No allied Mechanical Rights Organization

If your country has a PRO but no partnered mechanical rights society, then:

  • Mechanical fees must be negotiated directly with us.

Note: Master Recording License

For any use of our original recordings (except for cover performances or MIDI/sheet-music use), a Master License must be obtained directly from Model Electronic Records, regardless of PRO handling.

If you are unfamiliar with music licensing, you may find this reference helpful:
“How Music Licensing Works” by HowStuffWorks.

Please provide detailed information about your project when requesting a quote.
If you have questions, feel free to contact us.

List of PRO/MROs in alliance with JASRAC

(Always confirm the latest information on JASRAC’s website.)

  Performance
  Mechanical
  Performance&Mechanical
North America United States AMRA Asia Israel ACUM
APRS India IPRS
ASCAP Indonesia KCI
BMI South Korea KOMCA
Harry Fox Singapore COMPASS
SESAC Thailand MCT
Canada CMRRA Taiwan MUST
SOCAN China MCSC
SODRAC Turkey MESAM
Cuba ACDAM Philippines FILSCAP
Costa Rica ACAM Vietman VCPMC
Jamaica JACAP Hong Kong CASH
Saint Lucia HMS Macau MACA
Trinidad and Tobago COTT Malaysia MACP
Barbados COSCAP Oceania Australia AMCOS
Mexico SACM APRA
Europe Iceland STEF New Caledonia SACENC
Ireland IMRO French Polynesia SPACEM
Albania ALBAUTOR South America Argentina SADAIC
United Kingdom MCPS Uruguay AGADU
MRS Colombia SAYCO
PRS for Music Chile SCD
Italy SIAE Paraguay APA
Estonia EAU Brazil ABRAMUS
Austria AKM ADDAF
Austro-Mechana AMAR
Literar-Mechana ASSIM
Netherlands BUMA SADEMBRA
STEMRA SBACEM
Kazakhstan KAZAK SBAT
Greece AEPI SICAM
Georgia SAS SOCINPRO
Croatia HDS UBC
Switzerland SUISA Venezuela SACVEN
Sweden STIM Peru APDAYC
Spain SGAE Africa Egypt SACERAU
Slovakia SOZA Cameroon CMC
Slovenia SAZAS Guinea BGDA
Serbia SOKOJ Cote d’Ivoire BURIDA
Czech Republic OSA Congo BCDA
Denmark KODA Zimbabwe ZIMURA
NCB Senegal BSDA
Germany GEMA Central African Republic BUCADA
WORT Tunisia OTPDA
Norway TONO Nigeria MCSN
Hungary ARTISJUS Namibia NASCAM
Finland TEOSTO Burkina Faso BBDA
France SACEM Benin BUBEDRA
SDRM Madagascar OMDA
Bulgaria MUSICAUTOR Mali BUMDA
Belarus BELAT South Africa SAMRO
Belgium SABAM Mauritius MASA
Poland ZAIKS Morocco BMDA
SQN
Portugal SPA
Macedonia ZAMP
Moldova ASDAC
Latvia AKKA/LAA
Lithuania LATGA-A
Romania UCMR-ADA
Russia RAO


You might also be interested in:
    FAQs - Dark ModelFAQs about Licensing Our Music Model Electronic Music Catalog for SyncDiscover Our Music Catalog for Professional Licensing Licensing Our MusicLicensing Our Music (for International Users) Model Electronic Records - Sync Agent WantedSync Agent Wanted: Help Us Place Our Music in Media
Tags:
Sync License, Music Publishing

Tatsuya Oe Updated: December 9, 2025

Model Electronic Records Catalog for Sync Professionals

Sync Agent Wanted

Experienced Sync Agent Wanted

Licensing Guides & Form

  • Licensing Our Music (for International Users)
  • FAQs about Licensing Our Music
  • How to Work with Performing & Mechanical Rights Organizations
  • Sync Agent Wanted: Help Us Place Our Music in Media
  • Discover Our Music Catalog for Professional Licensing
  • Playlist: Most In-demand Tracks for Sync Licensing

Language:

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Microblog

No Title
10 February 2026

ビジネスのアイデア出しや情報収集にAIが役立つことは多々あるが、たまに「なんでそんなこと知ってるの?」的な意外な提案や固有名詞が出てきて驚かされることがある。「音楽の世界で長く活動されてきたあなたにとって、『製造から販売までを自分の美学の射程に収める』というリック・オウエンスの手法は、一つの強力なアンチテーゼ(として参考)になるのではないでしょうか?」いろんな意味で、こんなこと人間は言わないよなあ(笑)。

Inside Designer Rick Owens’s Minimalist Home Filled With Wonderful Objects | Vogue https://youtu.be/zrqqrQmeQS4

No Title
8 February 2026

音楽家のインタビューでよく聞かれる質問の一つが「最初に買ったアルバムは?」というもの。僕はテクノのアーティスト/DJとしてプロのキャリアを始めたけれど、初めて買ったレコードはビリー・ジョエルだし、その後もプログレ、ニューウェーブ、そしてジャズ、現代音楽、R&B、ブラジリアンと渡り歩いてきたので、典型的なテクノ少年的な音楽遍歴ではない。僕にとってテクノとは、それらの音楽のグルーヴや躍動感を結晶化、あるいは抽出した「うまみ」のような存在。

OE – Tessera #pianomusic #minimalism #contemporary https://www.youtube.com/shorts/Syd7wtxF7GU

No Title
7 February 2026

感情を鍵盤に叩きつけるような、パーカッシブで荒っぽいピアノが大好きだ。ジャズならマッコイ・タイナー、そしてインディロックではベン・フォールズの演奏を時々猛烈に聴きたくなる。ピアノに限らず僕は、正確さよりもダイナミックさに惹かれるところがある。大学に入りたての頃、ファンカデリックのようなバンドをやりたくて幾つか音楽サークルを訪問したら、ユーミンのカバーをしていた上級生が「君、ピッキングが荒いね」。大学で音楽仲間を探すのはお門違いだった(笑)。

Ben Folds: NPR Music Tiny Desk Concert https://youtu.be/VNMms_zGbnI&t=1135

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