Guides
CWR, explained properly
Plain-English answers to the questions every registration person ends up asking — the file format, every record type, every error, every society, every country — written by the people who run the CWR validator.
CWR essentials
CWR (Common Works Registration) is the CISAC standard music publishers use to register works with societies. What's inside a .V21/.V22 file, who uses it, and how to read one.
The structural rules societies enforce on CWR files - control totals, sequence numbers, share limits - and how to find the exact line that failed before you deliver.
The concrete differences between CWR versions 2.1 and 2.2 - new header fields, recording metadata, publisher chain references - and which one to deliver.
Every CWR validation error and warning in plain language — share caps, control totals, sequence numbers, missing fields — what each means and how to fix it.
Music registration vocabulary in plain words: performance vs mechanical rights, ownership vs collection shares, chains of title, ISWC, IPI, TIS, ACK files, and more.
Record reference
Every CWR 2.1/2.2 record type explained in plain language: what each line of a CWR file does and how the pieces fit together into a registration.
What the CWR HDR record does, in plain language: its role in a registration and how the validator checks it.
What the CWR GRH / GRT record does, in plain language: its role in a registration and how the validator checks it.
What the CWR TRL record does, in plain language: its role in a registration and how the validator checks it.
What the CWR NWR / REV / ISW / EXC record does, in plain language: its role in a registration and how the validator checks it.
What the CWR SPU / OPU record does, in plain language: its role in a registration and how the validator checks it.
What the CWR SPT / OPT record does, in plain language: its role in a registration and how the validator checks it.
What the CWR SWR / OWR record does, in plain language: its role in a registration and how the validator checks it.
What the CWR SWT / OWT record does, in plain language: its role in a registration and how the validator checks it.
What the CWR PWR record does, in plain language: its role in a registration and how the validator checks it.
What the CWR ALT record does, in plain language: its role in a registration and how the validator checks it.
What the CWR AGR / TER / IPA record does, in plain language: its role in a registration and how the validator checks it.
What the CWR ACK / MSG record does, in plain language: its role in a registration and how the validator checks it.
What the CWR REC record does, in plain language: its role in a registration and how the validator checks it.
What the CWR PER record does, in plain language: its role in a registration and how the validator checks it.
What the CWR ORN record does, in plain language: its role in a registration and how the validator checks it.
What the CWR EWT / VER record does, in plain language: its role in a registration and how the validator checks it.
What the CWR COM record does, in plain language: its role in a registration and how the validator checks it.
What the CWR INS / IND record does, in plain language: its role in a registration and how the validator checks it.
What the CWR ARI record does, in plain language: its role in a registration and how the validator checks it.
What the CWR XRF record does, in plain language: its role in a registration and how the validator checks it.
What the CWR NPA / NPN / NWN / NAT record does, in plain language: its role in a registration and how the validator checks it.
Coming from another system
Getting clean CWR out of Music Maestro: what the system holds, why exported files still bounce at societies, and how to validate a Music Maestro CWR export free before delivery.
Checking CWR deliveries from Curve Royalty Systems: how Curve builds its files, the quirks worth knowing (REV-only exports, excluded works), and how to verify a delivery free before a society sees it.
Societies
The world map of Common Works Registration, region by region: MusicMark (ASCAP/BMI/SOCAN), ICE (PRS/GEMA/STIM), direct-delivery societies, and the sub-publisher route across Asia, Latin America, and beyond.
ASCAP (United States): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
BMI (United States): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SESAC (United States): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
GMR (United States): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
The MLC (United States): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SOCAN (Canada): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
CMRRA (Canada): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SACM (Mexico): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
UBC / Abramus (Brazil): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SADAIC (Argentina): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
PRS for Music (United Kingdom): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
GEMA (Germany): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
STIM (Sweden): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
ICE (Europe (hub)): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SACEM (France): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SIAE (Italy): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SGAE (Spain): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
BUMA/STEMRA (Netherlands): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SABAM (Belgium): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SUISA (Switzerland): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
AKM / austro mechana (Austria): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
IMRO (Ireland): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
KODA (Denmark): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
TONO (Norway): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
Teosto (Finland): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
SAMRO (South Africa): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
ACUM (Israel): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
JASRAC (Japan): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
NexTone (Japan): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
KOMCA (South Korea): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
KOSCAP (South Korea): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
MCSC (China): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
CASH (Hong Kong): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
IPRS (India): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
APRA AMCOS (Australia / New Zealand): its history, how it supports CWR (or doesn't), and how registrations actually reach it.
Countries
What it takes to set up and claim music publishing rights in each territory: society membership rules, local-entity requirements, national copyright registration systems, and who claims which rights where.
Claiming music publishing rights in the United States: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Canada: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in the United Kingdom: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Ireland: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in France: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Germany: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Austria: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Switzerland: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in the Netherlands: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Belgium: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Spain: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Italy: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Sweden: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Denmark: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Norway: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Finland: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Australia and New Zealand: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Japan: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in South Korea: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in China: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Hong Kong: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in India: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Israel: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in South Africa: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Mexico: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Brazil: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
Claiming music publishing rights in Argentina: which societies claim which rights, how copyright registration works, and how a publisher sets up to collect.
日本語 · 한국어 · Español
日本で音楽出版権を管理するには：JASRACとNexToneの役割、外国出版社に必要な体制（日本法人・サブパブリッシャー）、著作権登録制度、CWRによる作品登録の実務。
한국에서 음악 출판권을 관리하는 방법: KOMCA와 KOSCAP의 역할, 외국 출판사의 진입 경로(상호관리계약·서브퍼블리싱), 저작권 등록 제도, CWR 작품 등록 실무.
Cómo gestionar derechos de edición musical en España: el papel de la SGAE, el Registro de la Propiedad Intelectual, y cómo una editorial extranjera se establece para cobrar.
Cómo gestionar derechos de edición musical en México: la SACM, el registro ante INDAUTOR, y cómo una editorial extranjera se establece para cobrar.
Cómo gestionar derechos de edición musical en Argentina: el monopolio legal de SADAIC, el depósito ante la DNDA, y cómo una editorial extranjera se establece para cobrar.