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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


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    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
29 January 2026

アメリカにいると特に、「価格」と「価値」は全く別物だということを思い知らされる。このコラムにもあるように、もはや古典的なミクロ経済学の概念は殆ど意味をなさない。だが音楽ビジネスがさらに絶望的なのは、作り手側から「価格決定権」が完全に剥奪されてしまったことだ。プラットフォームやテック企業を非難するのはたやすいが、音楽業界側の脇の甘さと怠慢が招いた、「知恵比べの敗北」であることは否定できない。

価格は消費者からむしり取る手段となった | 小幡績教授のアフターエコノミクス https://toyokeizai.net/articles/-/931184

No Title
28 January 2026

僕がプロとして音楽を始めた頃、ダンスミュージックの魅力の一つに「匿名性の面白さ」があった。DJがスピンする曲で盛り上がっていても、どの国の誰の曲か分からないし、そんなことに関心を持つ気配もない。DJブースの場所や、誰がプレイしているのかすら分からないこともあった。その晩のヒーロー/主役はDJではなく(グルーヴや音の響き、ストーリーなど、すべてを含めて)「音」。Ron TrentのDJは、そんな純度の高い音楽体験を提供し続けている。

Ron Trent | Boiler Room Festival: New York City 2021 https://www.youtube.com/live/R2S5tJzqEmY

No Title
27 January 2026

最近のUK/USインディ・レーベルの音をチェックしていると、「インディ」とは思えないほど、新人でも随分豪華なミュージックビデオ(MV)を作っている。複数のAIに「販促・宣伝費はどうやって捻出するの?」と聞いたところ、「実質的にはアーティストがレーベルにローン(前借り)する形です。アーティストは“リスクは最初に負い、報酬は最後に得る存在”なのです」と返ってきた。そうした世界とは無縁に、音楽業を30年、レーベルを20年続けてこられたことは奇跡かもしれない。

OE – Warning (Reconstruction Mix) #electrofunk #techno https://youtube.com/shorts/GCF8N8svEyM

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