WAMI's Explanation Of Royalty Distribution To Song Creators

Music illustration (unsplash)

JAKARTA - Makki Parikesit, the bassist of Ungu who also serves as the administrator of Wahana Musik Indonesia (WAMI) emphasized that the amount of musical royalties obtained by a songwriter cannot be equated with other songwriters.

This was conveyed in response to complaints from several songwriters who felt that the nominal royalties obtained did not match expectations, especially regarding the performance rights of live events.

Makki said that the amount of royalties received by each songwriter really depends on his songs on the market.

"Not all songs have the same fate. There are songs that produce billions, there are songs that don't produce at all," Makki told the media crew in Pancoran, South Jakarta recently.

The 53-year-old musician emphasized that the principle of distributing music royalties was not divided equally, but based on the performance of songs created.

"If the question is why Si A and Si B are lacking, maybe the song A sells more. This is not a split, this is fair, that must be conveyed," he said.

With that statement, it makes sense when a well-known songwriter may get an unsatisfactory nominal royalties from a live event.

"We are not a social institution that must generalize all creators for results (royalti), if indeed your songs don't sell. That also applies to great creators too," said Makki.

On this occasion, WAMI also reported its performance in collecting royalties throughout 2024. They managed to collect music royalties of more than IDR 161 billion.

"In 2024, thank God, WAMI can manage up to approximately Rp161 billion in total. This is not small money," said Adi Adrian, President Director of WAMI.

"The concert is around Rp. 12 billion, that's okay, you know, Rp. 12 billion. From the digital sector it is indeed large, hundreds of billions," he said.