Joining Stim

You are entitled to compensation when your music has been performed at a concert, played on radio and TV, in a restaurant, streamed online, or in a number of other music contexts.
Before you join, we recommend that you read and understand the information below so you know what to expect from Stim.
What joining Stim means
If you are a creator of musical works, with or without lyrics, or if you own a music publishing company, you can authorize Stim to manage your rights. You do this by "joining" Stim, and it does not cost anything. Once you have joined we ensure that you are paid when your music is played, regardless of where, when or how. However, Stim does not protect your music against plagiarism or theft.
How does the joining process work?
By filling in and signing the online form or mailing the form to Stim, your membership is completed — and you thereby give your consent for Stim to manage your rights under the terms set out in the agreement.
When we have received and approved your application, you will receive a confirmation at the e-mail address you provided and can then start registering your songs/works, reporting live performances and later also see how much in Stim payments is paid out.
Right to restrict, extend or terminate the management assignment
If you later wish to restrict or expand the management assignment you have given to Stim, you must print out a new membership form and send it to Stim. You also have the right to completely terminate the management assignment — in that case you should contact Stim's member or publisher service.
Deductions from royalty income
To be able to collect money from our approximately 25,000 license customers and pay out Stim payments to our over 100,000 members requires both staff and advanced technology. Therefore, a certain portion of the revenues from performed music that Stim collects each year goes to what we call administrative fees. A deduction is also made for the Stim Forward Fund, because Stim's members have decided that Stim should work for musical diversity and renewal. This involves initiatives for increased equality and diversity, work for strong copyright protection, grants to music creators, education, and to engage young people to create music — initiatives that simply strengthen the Swedish music scene. You can read more about which deductions are made in Stim's statutes. You can also find information about Stim's deductions in Stim's annual report.
Your Stim payments — how your compensation is calculated
How much money you receive from Stim depends on several factors. The basic requirement for us to be able to pay out money for your music is that we have the correct information. Therefore you always need to register your works via My Pages.
Some things that affect your compensation are:
- How many people have been involved in writing the song and what percentage share each person has. The song may also be assigned to a publisher, which means the music publisher has its percentage share.
- How long the song is, that is, the song's playing time in minutes and seconds.
- Where the music has been played and how much money Stim has collected for it.
- The scope of Stim's work.
Minimum payout amount
The minimum amount for receiving a payment from Stim is 100 SEK. If you do not reach 100 SEK, the money remains with Stim until you have reached the threshold.
To avoid missed or delayed payments we ask you to register your account number on My Pages.
Stim's distribution rules
When you register a work with Stim and do not fill in any share percentages yourself, the distribution is made according to Stim's distribution rules. In short, these rules mean that all involved receive equal shares.
Non-published works, so-called manuscript works:
Example 1: Music only
| Rights holder | Performance | Mechanical | |
|---|---|---|---|
| C (composer) | 100 % | 100 % |
Example 2: Music and lyrics
| Rights holder | Performance | Mechanical | |
|---|---|---|---|
| C (composer) | 50 % | 50 % | |
| A (lyricist) | 50 % | 50 % |
Example 3: Music and lyrics where the composer’s and lyricist’s works are no longer protected, and where a music adapter/arranger or a lyric adapter is involved
| Rights holder | Performance | Mechanical | |
|---|---|---|---|
| C (composer) | 0 % | 0 % | |
| A (lyricist) | 0 % | 0 % | |
| AR (arranger) | 33.33 % | 100 % | |
| C (composer) | 0 % | 0 % | |
| A (lyricist) | 0 % | 0 % | |
| SA (lyric adapter) | 33.33 % | 100 % |
Published works:
Example 1: Music only
| Rights holder | Performance | Mechanical | |
|---|---|---|---|
| C (composer) | 66.67 % | 66.67 % | |
| E (publisher) | 33.33 % | 33.33 % |
Example 2: Music and lyrics
| Rights holder | Performance | Mechanical | |
|---|---|---|---|
| C (composer) | 33.33 % | 33.33 % | |
| A (lyricist) | 33.33 % | 33.33 % | |
| E (publisher) | 33.33 % | 33.33 % |
Example 3: Music and lyrics that are no longer protected, and where a music adapter/arranger or a lyric adapter is involved
| Rights holder | Performance | Mechanical | |
|---|---|---|---|
| C (composer) | 0 % | 0 % | |
| A (lyricist) | 0 % | 0 % | |
| AR (arranger) | 33.33% | 66.67% | |
| E (publisher) | 33.33% | 33.33% | |
| C (composer) | 0% | 0% | |
| A (lyricist) | 0% | 0% | |
| SA (lyric editor) | 33.33% | 66.67% | |
| E (publisher) | 33.33% | 33.33% |