Member Handbook

Membership Classifications

IMRO offers two main membership classifications: Writer Members and Publisher Members. Writer Members include songwriters, composers, and lyricists who create original musical works. Publisher Members are music publishing companies that represent the rights of music creators and manage the commercial use of their works. Each classification ensures members receive royalties for the public performance of their music and enjoy access to IMRO’s full range of support services.

Notes:

1. Discretion is retained by the Board of Directors to elect below the criteria in appropriate circumstances.

2. Promotions to Full and Associate membership are automatic. After the end of each financial year, members’ earnings are examined to determine those who qualify for promotion or reclassification. They are then notified of their new member status.

3. Successors to deceased members are eligible for promotion to Full membership (Tier 1 or Tier 2) if they meet the same earnings criteria as publisher members. However, successors are not eligible for appointment to the Board of Directors, nor are they entitled to additional votes on a poll or postal ballot (note 5) unless also qualifying for Full Membership – Tier 3 as a writer or publisher in their own right.

4. The earnings criteria shown above are for promotions from 2026 onwards. They are reviewed every five years.

Minimum criteria for additional FULL MEMBER – Tier 3 VOTES

5. To qualify for additional Full Membership – Tier 3 votes, a member must have aggregate IMRO or IMRO and previous PRO earnings of 5 times the Full Membership – Tier 1 criterion as at the preceding 31st December, during the 10 years or less up to the preceding 31st December. The earnings required are €31,500 (writer) and €125,000 (publisher).

Membership Requirements

If you are a songwriter, composer, lyricist, or arranger of public domain music and meet any of the following criteria, you’re eligible to apply for IMRO membership:

• A piece of your music has been broadcast on radio or TV in the past two years.
• You’ve had at least 12 live performances of your music in the past two years.
• A piece of your music has been used on a commercially available recording in the past two years.
• Your music is available on streaming or download services like Spotify, Deezer, or Apple Music, etc.

Applications should include suitable evidence—such as a copy of the commercial recording, a link to streaming/download platforms, or letters/emails from broadcasters or venues confirming broadcasts or performances. Each applicant must also submit proof of identity (birth certificate, passport, or driver’s Licence).

Publisher Membership

To qualify for IMRO membership, a music publisher must have a catalogue of at least 10 works, with at least 5 having been commercially exploited in the past two years. The writers of these works must be IMRO members or belong to an affiliated society.

Applications must include copies of the recordings or sheet music of the qualifying works, along with all assignments between the publisher and the writers. A sheet of the publisher’s headed notepaper is also required.

• Individuals must submit proof of identity.
• Partnerships must provide a copy of the partnership agreement.
• Limited companies must provide a copy of their Memorandum and Articles of Association.

Membership Fees

There is no fee for IMRO membership for writers or publishers.

Termination of Membership

• Provisional and Associate writer membership may be terminated if no royalties are credited over five years.
• Provisional publisher members may be terminated if royalties do not exceed €317.43 over five years.

Successors to Deceased Members

Copyright in musical works lasts for the author’s lifetime (or the lifetime of the last surviving co-writer) plus 70 years. Upon a member’s death, IMRO should be notified promptly to ensure future royalties are paid to the rightful beneficiaries.

Membership ceases upon death, but IMRO will pay royalties to the deceased’s executors until December 31st of the seventh year following death or until a successor member is admitted.

• Successors must meet eligibility requirements and will be admitted according to IMRO’s Articles of Association.
• Provisional successors become Associate members if royalties in the last three years meet the criteria for Full Publisher membership.

If no successor is elected, IMRO’s control of rights in unpublished works ceases seven years after the last interested party’s death. Payments to publishers for published works will normally continue after this period, and the former writer’s share will be included.

Important Note:
Members are strongly advised to make a valid will specifically addressing their royalties. This ensures that royalties are distributed according to their wishes and helps expedite IMRO’s processes after their passing. IMRO recommends consulting a solicitor and notifying close family or legal advisors to inform IMRO promptly in the event of death.

Repertoire

Notification of New Works

Online Registration

1. You can register new works using the online works registration tool in the IMRO Member Online Portal. For co-written works, members must confirm (via the online declaration) that they have informed all other contributors of the registration and that everyone agrees to the share splits. If registering multiple works with the same contributors, contracts, and shares, use the “Copy” function to streamline the process. Online registrations are processed daily.

Paper Registration Forms

2. Two types of paper forms are available:

• For unpublished works
• For published works

Unpublished work registration forms must be signed by all contributors. For multiple similar works (with identical details and splits), list them on the second page of the form. Paper registrations are processed weekly.

Work Amendments

3. Amendments to works must be submitted via paper forms. All original and new contributors whose shares are being updated must sign and date the form.

Duplicate Claims

4. IMRO follows international best practices for resolving ownership disputes. If a new copyright claim conflicts with an existing one, the new claimant must provide supporting documentation within 60 days. During this period, IMRO continues to pay the original claimant. If both parties submit documentation, either can request the work be placed “in dispute,” and the shares will be suspended until an agreement is reached (as per IMRO Rule 6, requiring Board approval).

Important Notes for Writers

Published Works (assigned to a publisher)

• Your publisher is responsible for registering works you have assigned to them.
• Writers should register works only in specific cases, e.g., if there are delays by the publisher.
• If you’re under exclusive contract, let your publisher know about any new works so they can register them.

Unpublished Works (not assigned to a publisher)

• Should be registered with IMRO as soon as possible. Performance and recording activity can also be submitted online or with the work.
• Writers must include their unique 11-digit CAE/IPI number for identification. For co-written works, include your co-writers’ CAE numbers. If you’re unsure of your CAE/IPI number, contact IMRO Membership Services.
• Arrangements of copyrighted works should not be registered, as no royalties are allocated to arrangers. However, arrangements of public domain works should be registered.
• If you compose incidental music for a non-musical play, do not list the playwright in the author field. If you write songs for the play, these should be registered separately with full details.
• For specially commissioned works (e.g. for film, TV, or radio), register under a generic title (e.g. “Film X – Theme and Background Music”). It’s not necessary to register every individual cue unless there’s a significant difference (e.g. another contributor is involved, or it’s a commissioned song). If possible, provide the producer’s music cue sheet to IMRO’s Distribution Team.
• Performing shares and mechanical shares must each add up to exactly 100%.
• In the registration process, writers can indicate their preferred US performing rights society (ASCAP, BMI, or SESAC). If no preference is stated, ASCAP will be the default.

Important Notes for Publishers

• All contributors must be correctly identified with their CAE/IPI numbers.
• For co-published or “split copyright” works, only the shares you’re notifying need contractual details. However, list all writers, publishers, and applicable shares.
• All forms must be signed and dated. Publisher notifications should include the full publisher name and the signatory’s role.

CAE/IPI Numbers

All members have a unique CAE/IPI number generated by an international membership database (IPI). Members with pseudonyms or different trading names may have multiple CAE/IPI numbers. Always include your CAE/IPI number when registering works and agreements. Contact IMRO Membership Services if you’re unsure of yours.

IMPORTANT

By registering a work, IMRO members declare they own the copyright for that work. In disputes, the legal responsibility to prove ownership lies with the writer/composer or publisher.

Licensing

IMRO’s Licensing Process for Public Performances

1. Public Performance

Irish copyright law doesn’t explicitly define “public performance,” but court decisions have clarified that any performance outside a private or family setting qualifies. This includes performances in clubs, factories, and other venues—even if no admission charge is made.

IMRO, through assignments from its members and agreements with foreign societies, controls the public performance rights for most copyright music in Ireland. As such, a licence from IMRO is needed for almost every public performance of copyright music in Ireland.

IMRO’s policy is straightforward: it will grant a licence to anyone willing to sign its standard licence agreement and pay the appropriate royalty fee. Copyright is infringed when someone performs or authorises the performance of a work in public without the licence of the copyright owner. This means that music users and venue owners must obtain the proper licence before hosting public performances.

IMRO maintains a nationwide sales team to explain these licensing requirements to unlicenced music users and to issue licences. Licences can also be obtained directly from via its online licensing platform or by contacting IMRO’s Head Office

To encourage early compliance, IMRO charges 33.3% more for the first year of a licence if the user does not apply for it before being approached by IMRO.

While IMRO prefers not to take legal action, it will do so if necessary. If a music user refuses to enter into a licence agreement after their obligations have been fully explained, IMRO will begin copyright infringement proceedings in the Circuit Court. These proceedings seek an injunction to stop performances until a licence is obtained, as well as damages and costs.

2. IMRO’s Licences

IMRO’s licences are annual contracts that continue until either party cancels them. These blanket licences cover the public performance of any of the millions of works in IMRO’s repertoire, including those of affiliated societies worldwide.

Royalties that are generated from public performances can vary based on how music is used at a specific premises. Licensees can perform IMRO’s repertoire as they see fit, but they must notify IMRO in writing of any changes in music usage so that royalties can be adjusted. This includes both live performances and music played through mechanical means (like jukeboxes, radio, TV, video, CDs, MP3 players, etc.).

IMRO licences cover a wide range of premise types:

• Cinemas
• Clubs
• Concert halls
• Discos
• Town and church halls
• Pubs and restaurants
• Shops
• Factories
• Universities
• Ships and aircraft
• Sports stadiums
• Theatres
• And many more.

For one-off events or short series of performances in unlicenced venues, IMRO issues special permits or single-use licences. Copyright law holds not just the event promoter responsible, but also the venue owner (unless they can prove they didn’t know infringement would occur) and the performers themselves.

IMRO typically issues licences to venue owners rather than individual performers (except for brass and military bands playing in public). Promoters should always check that the venue has a valid IMRO licence to avoid any issues.

For businesses with multiple locations, IMRO may issue a single licence to the company’s head office. Royalties are then calculated based on usage across all premises. Licences are legally binding contracts, and royalty payments are enforceable by law. If a Licensee doesn’t pay, IMRO may pursue payment through the courts as a commercial debt.

3. Assessing and Paying Royalties

Royalties are calculated using tariffs that reflect the type and frequency of performances, the nature of the business, and other relevant factors. Many tariffs have been developed in consultation with national associations representing different music users.

IMRO’s principal tariffs are adjusted annually based on changes in the Consumer Price Index.

Many Licensees pay a flat annual fee (adjusted only for inflation) if they use music solely as background music. However, if royalties are based on admission receipts, the number of employees (as in factories and offices), or a variable number of live events, Licencees must submit an annual return detailing their music usage so royalties can be calculated accurately.

Royalties are paid annually in advance, based initially on estimated usage. At the end of the year, payments are adjusted based on actual usage as reported by the Licencee. Licencees must notify IMRO of any changes in usage within one month of the year-end; otherwise, IMRO cannot make adjustments to royalty charges.

4. IMRO Tariffs for Public Performance

Up-to-date details of IMRO’s tariffs are available from IMRO’s Licensing Department or online at https://www.imro.ie Many tariffs include automatic adjustments for inflation and are reviewed regularly.

Rights

The Rights Administered by IMRO

Summary

IMRO (the Irish Music Rights Organisation) manages a wide range of rights on behalf of its members. The details of these rights are outlined in IMRO’s Articles of Association and specific Board-issued guidelines. While the full definitions are technical and extensive, here’s a clear overview:

Performing Right

IMRO administers the performing right in all musical works of its members, covering:

• Public performance of the work
• Broadcasting the work
• Transmission of the work to subscribers via a diffusion service

IMRO also administers the film synchronisation right for any music specially composed by a member for a film.

Exceptions to IMRO’s Administration

1. Grand Rights
   IMRO does not administer rights in performances of:

1. • Dramatico-musical works (e.g., operas, operettas, musical plays, revues, pantomimes with specially composed music and lyrics)
   • Ballets (choreographed works with a story, plot, or concept designed for dance interpretation)
     However, IMRO does administer these rights when:
   • The work is performed using a film made primarily for cinema exhibition
   • The performance is in public venues (e.g., hotels or pubs) using radio or TV sets
   • Television broadcasts include short ballets (up to five minutes) or excerpts from existing ballets.
     
     
2. Excerpts from Dramatico-Musical Works
   • Dramatic performances of excerpts: controlled by the individual copyright owner.
   • Non-dramatic performances of excerpts:
     • Controlled by IMRO if:
       • Duration ≤ 25 minutes
       • Does not cover a complete act
       • Not a “potted” (condensed) version
     • For television, the maximum is 20 minutes.
     • For radio, excerpts are covered by IMRO if they do not exceed 25 minutes or 25% of the work’s total length.
       
       
3. Other Exceptions
   IMRO does not administer:
   • Live performances of music written for son-et-lumière productions and dramatic productions in theatres
   • Some words written for commercial advertisements (unless set to specially written music and lasting at least five seconds)

Important Notes

• Non-dramatic excerpts exceeding these durations must be Licenced directly from the copyright owners.
• IMRO controls all ballet music (complete or in excerpt) when not accompanied by dance.
• If a musical work begins life as a film, broadcast, or recording and is later adapted for the stage, IMRO does not control stage performances of such adaptations.
• For pre-existing music in films adapted to the stage, IMRO typically retains control.

Key Definitions

1. Performing Right
The right to:

• Perform music publicly
• Broadcast it
• Transmit it to subscribers (including equivalent rights worldwide)

2. Musical Work
Includes:

• Any portion of a musical work
• Vocal/instrumental music in film soundtracks
• Music accompanying non-musical plays
• Words or monologues with music
• Any associated lyrics or words

3. Film Synchronisation Right
The exclusive right to record a musical work on a film soundtrack.
This right is generally assigned to IMRO by writer members but can be re-assigned to film producers under IMRO’s conditions, ensuring proper payment for use in cinemas (especially in the USA).

Specific Rights Administered by IMRO

A. Television Broadcasting

IMRO Licences the broadcast of most music except:

• Dramatico-musical works (unless in films made for cinemas, or short excerpts ≤ 20 minutes)
• Ballet music accompanied by dance visuals (unless in films made for cinemas, or short excerpts ≤ five minutes)
• Commercial advertisement words (unless set to music as above)

B. Radio Broadcasting

IMRO Licences most music, excluding:

• Dramatico-musical works (except excerpts ≤ 25 minutes or 25% of the work’s length)
• Commercial advertisement words (unless set to music as above)

C. Public Performances

IMRO covers public performances of most music, excluding:

• Dramatico-musical works (unless performed via film, radio, or TV in public spaces, or as short, non-dramatic excerpts ≤ 25 minutes)
• Ballet music accompanied by dance visuals (unless via film or broadcast in public spaces)
• Music for son-et-lumière productions and dramatic theatre productions

D. Cable and Microwave Broadcasting

IMRO controls the inclusion of most music in cable and microwave broadcasts, except for commercial advertisement words as above.

E. Film Synchronisation

IMRO administers this right for any music specially commissioned for a film by its writer members.

Guidelines for Dramatic vs Non-Dramatic Excerpts

A performance is considered dramatic if it includes:

• Dramatic action (acted, danced, or mimed)
• Costumes, sets, or scenic elements that recreate the original conception

Non-dramatic examples:

• Fixed set not based on the original work
• Generic costumes not from the original
• Simple backdrops or single props without original costumes

Additional Notes

• IMRO also administers simultaneous cable retransmissions of radio/TV broadcasts (within limits).
• Full definitions of “film” follow Irish copyright law (including videos, cassettes, discs).
• Microwave broadcasting involves sending TV or sound services to areas using special aerials.

If you have further questions about membership or the rights IMRO manages, please contact membership@imro.ie.