Publishing

Distribution vs publishing - what is the difference

When we take a release, each track can get two kinds of service. On the song you will see two toggles: Distribution and Publishing. Distribution We deliver the recording to stores and streaming platforms (Spotify, Apple Music, Deezer, and so on) and collect the streaming and download revenue. This is about the recording. Publishing We manage the songwriting side: registering the work, collecting publishing royalties, and looking for sync (film, ads, video) and stock-licensing opportunities that can boost your streams. This is about the composition. Both is our default Most tracks benefit from both, so both are on unless you turn one off. Keep at least one of the two on. - If you turn distribution off, your current distributor must whitelist the track so we can still handle publishing. Only do this if you distribute this release elsewhere. - If you turn publishing off, you may miss the sync and licensing opportunities we could find for you.

What publishing covers

Publishing is about the song itself (the composition), separate from any one recording of it. Here is what we handle when publishing is on. Registration with a collecting society We declare the works so publishing royalties are collected correctly. In France this means a SACEM registration, which you will see as its own stage on a release ("SACEM registration", then "awaiting validation"). Collecting publishing royalties Beyond streaming payouts, compositions earn royalties through performance and mechanical rights. Publishing is how those get collected and paid to the writers. Sync and stock licensing We actively look for opportunities to place your music: sync (film, TV, ads, online video) and stock or production-music libraries. These can bring in licence income and expose your music to new audiences, which often lifts streams too. Who gets paid Publishing follows the songwriter and composer credits on the song. That is why the roles and legal names in your splits matter (see "Why legal names and roles matter for publishing").

Why legal names and roles matter for publishing

For distribution, an artist name is enough. For publishing, the collecting society pays the actual writers, so we need real people and their roles. Use real legal names In a song's Artist splits, each contributor needs their legal name (not just the artist alias) and an email. This is what goes on agreements and what the society uses to route publishing royalties. Pick the right roles Choose the role that fits each person: - Composer - wrote the music. - Author / songwriter - wrote the lyrics or topline. - Remixer - produced a remix of an existing work. Shares total 100% The splits also decide how income is divided, so make sure everyone is listed and the shares add up to 100%. Getting this right once means the money reaches the right people automatically, every period, without you chasing it.

Cover songs and licensing

If your track is your own version of a song someone else wrote, that is a cover, and it needs a little extra. Mark it as a cover On the song, tick Cover of another work and enter the original song title. This tells us the composition is not yours, so it is handled correctly for publishing. Licence may be required Covers usually need a licence from the original rights holders before release. Where a licence is needed, upload the cover licence PDF on the song so we have it on file. Why it matters Publishing royalties for a cover belong to the original writers, not to you as the performer. Declaring the cover keeps everyone paid correctly and keeps your release clear of takedowns. If you are unsure whether your track counts as a cover, or how to obtain a licence, message the team and we will guide you.