Music Royalty Management

The truth nobody tells indie artists: catalogues aren’t just about how good the music is. They’re about how clean, structured, and monetisable the rights are. Investors don’t buy vibes, they buy cashflow and if your catalogue isn’t set up to generate income consistently, it’s not ready to work for you yet. There are five things every serious investor, publisher, or acquirer looks for: First, rights clarity. Who owns what? Is it registered with a PRO? Are the splits documented and signed? Second, metadata hygiene. Do the songs have correct ISRCs, ISWCs, and IPIs? Are they tagged, searchable, and trackable? Third, earnings history. Is the catalog generating revenue? From where? Streaming, sync, or publishing? Fourth, sync potential. Has it been licensed before? Does it have instrumental versions? Is it cleared for one-stop licensing? And fifth, deal-readiness. Are your contracts centralised and digitised? Can a buyer complete due diligence in a week instead of a month? Most artists fail at three out of five, and that is where the problem starts. Metadata, in particular, is the invisible backbone of your catalog. The Verge once called it “the biggest little problem plaguing the music industry,” estimating that billions in royalties go unclaimed every year because songs aren’t properly tagged or credited. Every ISRC, IPI, and songwriter detail is how performance rights organisations like IPRS identify and pay you. If your metadata is missing or incorrect, your song might still play everywhere, but the royalties could be going anywhere. Messy splits lead to royalty disputes. Missing metadata means lost income. No sync prep means no high-margin placements. No earnings track record means no valuation benchmark. You can’t raise capital, sell equity, or pitch your catalog if you don’t even know what you own, or worse, if you co-own something you can’t monetise. This isn’t about being perfect, it’s about being prepared. If you’re serious about turning your music into long-term value, get your house in order. Build a clean catalogue, and it becomes a business. Keep it messy, and it stays a hobby. Streams are great, but splits, syncs, and structure are what make a catalogue valuable. The next wave of music wealth isn’t going to the loudest, it’s going to the most organised. #musicbusiness #musicindustry #metadata #rights #tips #fairplay

How Netflix, HBO, and Prime Are Changing the Music Industry, for Real. BUT, Can a song featured in a film or series generate income? Yes, and sometimes more than once. But only if your rights are properly managed and metadata is solid. Here’s what it takes: A) You must own or control part of the rights B) Your work must include all key metadata (ISRC, IPI, etc.) C) You must have sync licenses and be registered with a PRO or CMO >>> What revenue streams are involved? 1. Sync fee – One-time negotiated payment with studios 2. Performance royalties – From public airing of the film/show 3. Mechanical royalties – If the content is downloaded or sold 4. Streaming royalties – If the film/series is watched online >>> But how do songs get into a film or series? There are three main paths: 1. Custom-made score or commissioned music A music supervisor sends a creative and technical brief. A composer writes to the scene’s emotion and timing. 2. Music libraries or indie catalogs Platforms like Artlist, Epidemic Sound or even indie distributors allow licensed tracks to be used directly — especially when metadata is solid. 3. Curated by music supervisors or editors These professionals hunt for that perfect emotional match. Keeping your data updated with PROs and distributors increases your chances. >>> Why this matters (and why now): - In today’s streaming world, sync is not just exposure — it’s business - According to Deloitte 2024, 82% of Gen Z discovers music through UGC and video platforms - Only 23% of people find new music through streaming recommendations - Spanish and Latin American series on Netflix and Prime are helping revive indie catalogs >>> Real-life examples: - Stranger Things sent “Running Up That Hill” by Kate Bush back to the charts — 37 years later. - Euphoria made alternative tracks mainstream overnight. - Latin and Spanish-language series from Netflix and Prime helped revive indie artist catalogs with global impact. **** Sync is not just visibility. It’s revenue. But to make it work, your author rights and technical setup must be flawless. > Ana Tijoux – “1977” - Her song was featured in Breaking Bad, boosting global streams and awareness. - Originally a niche Latin hip-hop track, it reached audiences worldwide thanks to perfect sync placement. - The exposure led to tour opportunities, playlist additions, and licensing deals — all from a single TV scene. >>> If you’re an artist, composer, or music manager — sync licensing might be your most overlooked revenue stream. Ask yourself: D) Is your music properly registered? E) Are you visible in sync-ready platforms and libraries? F) Do you treat your song like an audiovisual product? In today’s entertainment ecosystem, understanding sync = understanding strategy. Let’s talk about that. #musicsync # #artistdevelopment #audiovisualstrategy #musicformedia #digitaldistribution #songwritercommunity #musiccreators

Music Licensing Doesn't Start When A Song Drops, But Starts Since Its Creation. Most people think music licensing begins at release but that's not the case. Legally, a song is a layered asset where rights accumulate at every stage and missing out even one can make everything go downstream. Here's the actual legal timeline: 1. CREATION STAGE: Ownership must be decided before anything else through split sheets, documenting ownership percentage of the composition. Copyright vests automatically, but without written agreements, equal shares are presumed and one unsigned writer can block everything later. Copyright registation may also come handy. 2. RECORDING STAGE: A separate copyright is created in the sound recording (master), distinct from the composition. Master ownership: Artist? Label? Producer? Production agreements must specify ownership, royalty points, and sample clearance responsibilities. 3. ARTIST/PRODUCER AGREEMENTS Who gets paid? Who retains what rights? Specify: mechanical royalties, performance royalties, sync approval/revenue, derivative work rights. Informal setups can result in expensive litigation suits. 4. SYNCHRONIZATION: Using music in films, ads, reels? Better to obtain permission from both composition owner and master owner. Also specify: territory, term, media type, exclusivity. Clearance can be time consuming, plan early. 5. DISTRIBUTION: Uploading requires proper rights, otherwise monetization gets blocked. Obtain mechanical licenses (if making covers), master ownership proof, sample clearances, accurate metadata. 6. PUBLIC PERFORMANCE: For playing music at events/venues requires licenses, venue owners need blanket licenses from PROs (IPRS in India, ASCAP/BMI in US). 7. POST-RELEASE: Register with societies like IPRS/PPL India for performance royalties. MLC (US)/MCPS (UK) for mechanical royalties COMMON LEGAL TRAPS: - "We'll figure out splits later" - Unsigned split sheets - Clearing samples after release - Assuming work-for-hire without documentation - Signing away synchronisation rights Takeaway: Music isn't a finished product, it's a multilayered legal asset where rights build at every stage. Unclear foundation can make everything risky afterwards, so get the structure right from the very beginning. What are your thoughts on this?

Over the last year of working closely with and learning more about music rights, I’ve come to a realisation that there is a lack of education about this matter. A lot of the artists and their teams aren’t aware of the difference between Master Rights and Publishing Rights, yet alone splitting or registering them correctly. In my next series of posts and this one, I intend to change this with the ‘𝘛𝘩𝘦 𝘉𝘢𝘳𝘦 𝘔𝘪𝘯𝘪𝘮𝘶𝘮’. This knowledge shouldn’t be gate-kept in any way and with the world moving towards independent music, monetising these rights correctly as well as owning every aspect of what you are entitled to is crucial for an artist, especially a songwriter. 𝘞𝘩𝘢𝘵 𝘈𝘳𝘦 𝘔𝘢𝘴𝘵𝘦𝘳 𝘙𝘪𝘨𝘩𝘵𝘴? Master rights refer to the ownership of the original recording of a song or piece. This is the definitive version of a track, the one from which all subsequent derivative versions are made from. Holding the master rights means having control over the reproduction, distribution, and commercial use as well as exploitation of that master recording. Typically, these rights are owned by the record label that financed the recording session or now with the prominence of independent music, by the artist themselves. Revenue generated from streaming platforms, downloads, and physical sales of the music directly pertains to the master rights. 𝘞𝘩𝘢𝘵 𝘈𝘳𝘦 𝘗𝘶𝘣𝘭𝘪𝘴𝘩𝘪𝘯𝘨 𝘙𝘪𝘨𝘩𝘵𝘴? Publishing rights, on the other hand, pertain to the composition of the song itself—the melody, lyrics, and musical arrangement. These rights are usually held by the songwriter or composer and their publisher. Publishing rights allow the holder to earn money from various uses of the composition, including radio play, live performances, streaming, and cover or alternate versions by other artists. This means whenever the composition is used, the copyright holders are entitled to royalties as well as credits irrespective of the artist performing it. 𝘛𝘩𝘦 𝘋𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘤𝘦 𝘉𝘦𝘵𝘸𝘦𝘦𝘯 𝘔𝘢𝘴𝘵𝘦𝘳 𝘢𝘯𝘥 𝘗𝘶𝘣𝘭𝘪𝘴𝘩𝘪𝘯𝘨 𝘙𝘪𝘨𝘩𝘵𝘴 The key difference between master and publishing rights lies in what aspect of the song they cover. Master rights focus on the recording, while publishing rights concern the composition. An easy way to differentiate is to think of the master as the “performance” of the song, recorded onto a medium, and the publishing as the “idea” or “intellectual property” of the song. For example, if another artist covers a song, they would need permission from the publishing rights holders for the composition and lyrics but would create their own master recording to obtain the master rights for their version. Similarly, when a song is streamed online, the platform pays royalties for both the master (to the record label or independent artist who owns the recording) and the publishing (to the songwriters and their publishers). #1 #TheBareMinimum

A. If you’re an artist, songwriter, or producer in today’s music industry, one truth should never be ignored: you don’t make real money from the music you create — you make it from the rights you own. And at the center of that truth lies music publishing — the most misunderstood but most powerful part of the music business. B. At its core, music publishing is the business of managing, protecting, and monetizing compositions — the underlying songs themselves. A “composition” is not the recording you hear on Spotify or Apple Music. It’s the idea of the song — the melody, lyrics, and arrangement — that can exist in many versions, covers, and recordings. When you write a song, you own copyright in that composition. That copyright automatically gives you two things: (i)Control – the legal right to decide how, when, and where your song is used. (ii)Income – the right to receive royalties whenever your song is performed, streamed, sold, or synchronized. C. Every time your song is used, someone owes you a royalty. Here are the main ways that happens: (i)Performance Royalties – earned when your song is played publicly (radio, live shows, TV, streaming, etc.). (ii)Mechanical Royalties – earned when your song is reproduced or streamed on digital platforms. (iii)Sync Royalties – earned when your song is used in movies, commercials, or video games. (iv)Print Rights – earned when your lyrics or compositions are printed or published physically. The job of a publisher (or publishing administrator) is to make sure you get every one of those royalties — from every corner of the world. D. When you release a song, there are two copyrights: The Master Recording – owned by the artist or label. The Composition (Publishing) – owned by the songwriter(s) and publisher(s). Most artists chase the master — because it’s fast money. But the publishing side is where long-term wealth is built. Publishing royalties keep coming in years after a song stops charting. That’s why legendary writers still receive cheques decades later. E. Why This Matters for African Creatives Across Africa, publishing is still misunderstood and undervalued. Many artists: (i)Sign label deals without negotiating their publishing rights, (ii)Fail to register songs with CMOs like PRS, COSON, SAMRO, or BMI, (iii)Ignore metadata and split sheets until disputes arise. The result? Millions of dollars in royalties are left uncollected or misdirected globally — while African songs dominate streaming charts. F. What Every Artist Should Do Today (i)Know your splits: Always agree on who owns what percentage of the composition before release. (ii)Register your songs: Join a performing rights organization (PRO) and a publishing administrator. (iii)Keep your data clean: Metadata errors cause royalty losses. Get your song titles, ISWCs, and IPIs right. (iv)Work with professionals. A publisher or adminstrator like Uptique Music ensures your songs are tracked and paid for globally.

When does active management beat passive ownership? Private equity and passive investors are pushing up multiples, treating music catalogs like bonds. But here’s the reality: A catalog without active management can be a depreciating asset. I have seen companies put in offers at 19x for master's because they believe they can increase the value of the catalog through active management. This means passive investors could be leaving money on the table (unless they have great label and pub partners). Problem: More investors are treating music catalogs as set-it-and-forget-it assets: ✅ Buy at 10-20x NPS ✅ Sit back and collect royalties ✅ Hope streaming growth offsets decay But here’s what they don’t account for: • Decay curves can erode income fast especially for newer catalogs • Sync deals don’t happen on autopilot—you need active pitching • Platform reliance is dangerous—TikTok virality today doesn’t guarantee royalties tomorrow A poorly managed catalog can underperform expectations, leaving money on the table. Here’s what happens when a passive vs. active manager takes control of the same catalog: 📉 Passive Approach: • Collect royalties but don’t optimize revenue streams • No active pitching for sync or licensing deals • No strategic re-releases or collaborations to extend song life • Result? Revenue is lost 🚀 Active Management Approach: • Directly pitches songs for movies, commercials, and video games • Reissues catalog through anniversary editions, remixes, and strategic marketing • Finds new licensing partners in non-traditional markets (e.g., gaming, sports leagues) • Monetizes international growth, especially in emerging streaming markets • Keeps songs relevant and increases longevity of the catalog's lifecycle If you own or invest in music catalogs, here’s how to actively maximize value: ✅ Hire a sync and licensing team (don’t rely on inbound requests) ✅ Analyze your top-performing songs and build relaunch strategies ✅ Leverage collaborations and remixes to bring old songs back to life ✅ Negotiate better royalty collection strategies across international markets I have seen catalogs increase revenue by over 700% many years after the song was released. This is not by accident. These are planned and well executed strategies. For some of the most interesting case studies leave a comment with "Case Study" and I will send you a list of strategies that have worked. #MusicBusiness #CatalogManagement #Royalties #MusicInvesting

I’ve talked to 100s of revenue teams at record labels, publishers, and music investment funds — and one characteristic separates the cream of the crop. 💡 They practice 𝗮𝗰𝘁𝗶𝘃𝗲 rights management, as opposed to passive. Passive is the "index funds" strategy of rights management: • Poor understanding and/or infrequent auditing of revenue streams • Only registering for the obvious and safe revenue streams (DSPs, YouTube Content ID, etc.) • Waiting for inbound licensing opportunities • Never updating processes because “this is how it’s always been done” Active is the "hedge fund" strategy of rights management: • Always auditing and analyzing their revenue streams. • Constantly digging for and experimenting with new revenue streams (neighboring rights, AI licensing, etc.) • Actively monitoring and enforcing rights with solutions like Third Chair (YC X25) • Relentless focus on improving systems to meet modern needs These changes can seem minor at first — but they compound. Over time, they make or break businesses. If you're in the rights management business, you can't sit and wait around for mailbox money -- get 𝗮𝗰𝘁𝗶𝘃𝗲!!

WHAT CONSTITUTES A GOOD MUSIC CONTRACT? In the ever-evolving music industry, a good music contract balances artist rights, fair compensation, and creative freedom. Here’s what to look for to ensure you’re signing a deal that benefits your career long-term: 1. Ownership of Masters • Retaining control of your masters is crucial. Ideally, the deal should allow you to keep ownership or regain it after a set period. 2. Fair Royalty Rate • Royalty rates typically range from 15%-20% for major labels, but a more artist-friendly indie deal might offer a 50/50 net profit split. Avoid deals that have excessive deductions. 3. Advances and Recoupment • A good deal ensures clear recoupment terms and avoids cross-collateralization. Always be mindful of the advance being a loan against future royalties. 4. Creative Control • Ensure you have control over your music, image, and brand decisions. You should have the final say on projects like albums, collaborations, and promotions. 5. Fair Term & Commitment • A shorter initial contract with limited options is preferable. You want the flexibility to evolve as an artist without being locked into long-term, restrictive terms. 6. Territory & Exclusivity • Avoid worldwide exclusivity if possible. The deal should focus only on the territories or projects that the label or publisher can directly support. 7. Publishing Rights • Keep as much of your publishing as possible. A good deal involves an admin deal where the label takes a small percentage to collect royalties but doesn’t own your publishing. 8. Merch, Touring & Brand Deals • Modern deals often involve a 360-degree agreement where the label takes a share of touring, merch, and endorsements. A fair deal allows you to keep the majority of income from these streams unless the label directly facilitates the growth of those areas. 9. Audit Rights • You should always have the right to audit the label’s books to ensure accurate royalty payments. 10. Exit Clauses • After a set period, your contract should have a reversion clause where the rights to your music and branding return to you, allowing you to move forward without restrictions. In summary, a good music contract ensures that you are the primary beneficiary of your talent and hard work. The label should support you in ways that help elevate your career without taking control of everything you’ve worked to build. #MusicBusiness #MusicContracts #ArtistRights #FairCompensation #MusicIndustry #CreativeControl - Adrian Pearson Jr

Your unclaimed royalties are sitting in someone else's account right now. Not because someone stole it. Because nobody told you it existed. Here's what's sitting unclaimed right now. Mechanical Royalties: Every stream, every download, generates a mechanical royalty separate from your master royalty. If you're not registered with the right collection society, this money sits in a pool and eventually gets paid to someone else. Performance Royalties: Your PRO only pays you if your titles and splits are registered correctly. Wrong co-writer info or an unregistered song means real airplay and streaming performance never reaches your account. Neighboring Rights: If you performed on the recording, not just wrote it, you're owed a separate royalty every time it plays on radio or in public spaces. Most artists have never registered for this at all. Sync Royalties: Your song gets used in a video, an ad, a background clip somewhere you've never heard of. If your publishing isn't properly registered, that usage gets logged and the royalty goes unclaimed for years. Digital Performance Royalties: Satellite radio and webcasting generate royalties completely separate from your PRO. Most independent artists have never signed up for the organization that collects this. Foreign Royalties: Your music earns money overseas the moment it streams or airs internationally. Without a sub-publishing or collection deal in place, that income never crosses the border back to you. YouTube and Content ID Royalties: Someone uses your song in their video and monetizes it. If your Content ID isn't set up correctly, they keep the ad revenue and you get nothing. Print and Sheet Music Royalties: Rare for most artists, but if your music gets transcribed, licensed for method books, or used in official sheet music, there's a royalty tied to that too. None of this requires a lawyer or a label. It requires knowing these systems exist and actually registering for them. The artists losing the most money aren't the ones getting ripped off. They're the ones who never filled out the form. Which one of these did you not know about until just now? #MusicMarketing #IndependentArtists #MusicBusiness #MusicRoyalties #MusicIndustry #ArtistGrowth

Are you missing money overseas, stuck in metadata disputes, or drowning in registrations? A music administrator can turn all of that into paid royalties. A music administrator handles the heavy lifting: • Registers your songs with PROs, The MLC, SoundExchange, and foreign societies • Fixes metadata so ISRC/ISWC/IPI all match across platforms • Files claims and tracks statements • Chases disputes so money actually lands in your account Foreign CMOs hold your royalties until someone claims them. Payments can take 12-24 months via reciprocal deals or get stuck entirely without local registrations. Most artists have no idea their music is generating royalties in territories they've never even thought about. The Matching Nightmare: Tiny title/credit differences break payments. Admins use tools like The MLC's Matching Tool to claim unmatched works that would otherwise sit unclaimed forever. During my time managing rights for artists, I've seen how one small metadata error can cost thousands in lost royalties. Outside the US, radio and TV pay performers directly. Admins register with local CMOs so you don't miss non-US income. The Tax Trap: Admins handle certificates of residence and treaty forms to reduce foreign withholding (often 10-30% by default) and file reclaim/credits so you aren't double-taxed on overseas royalties. Without proper documentation, you could be losing 20-40% of your international royalties to unnecessary taxes. The Cost vs. Benefit: Typical admin fees range from 10-20% of what they collect, but they often recover money you'd never see on your own, especially abroad or with complex splits. The math is simple: 80-90% of something is better than 100% of nothing. If you release music and don't have an admin helping you, you probably have money waiting for you to collect. The global royalty system is complex, and it benefits the biggest players while leaving independents vulnerable to missing income. #MusicAdministration #MusicRoyalties #GlobalRoyalties #MusicBusiness #IndieArtists