Music Publishing.
Mechanical, performance, sync. Registered wherever it pays, collected on schedule.
What actually gets moved.
Publishing royalties live in plumbing separate from streaming royalties. Performance societies pay songwriters for every public play; mechanical collectors pay for every reproduction; sync agents place compositions in film, TV, ads. Each pipeline has its own registration, paperwork, and statement cadence. Most independent artists collect a fraction of what they're owed because no one fills in the forms.
We register every composition globally on a writeshare basis, make sure it lands at every society that needs to know, and chase payment through their statement cycles. Sync representation is included, placements are pitched, negotiated, and routed to the artist for the final call.
Registered in every territory that pays.
Every composition is registered with every relevant global collecting society. Once registered, the income lane opens, past, present, and future plays start accumulating automatically.
Sync representation included.
Compositions are pitched for film, TV, ad, and game placements. Deals route through one desk so terms stay consistent and artist splits are protected.
Mechanical + performance covered.
Both royalty streams are collected and reconciled into the same dashboard as streaming revenue. No more guessing which statement covers what.
Statements you can actually read.
Quarterly statements that show society, territory, work, period, and payment without jargon. Source rows are linked so every line is auditable.
Three years of mechanicals arrived at once. I'd stopped hoping.
Every new composition is registered to the writer's account with ISWC allocation, society lookups, and reciprocal territory filings. The artist sees a registration ledger showing which societies have confirmed, which are pending, and which have refused (with reason codes).
Performance and mechanical income arrives on the society's own cadence, usually quarterly, sometimes semi-annually for smaller territories. Statements reconcile into the dashboard within seven days of arrival, with explicit currency conversion and FX dates.
A composition earns from being heard and from being owned. Distribution gets it heard. Rights Management makes sure the ownership claim survives the internet. Publishing collects on what the ownership earns.