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Questions answered
What is music publishing?
Music publishing refers to the business of owning and administering the rights to musical compositions. This includes the right to reproduce the compositions, distribute copies, and license the use of the compositions for various purposes, such as in recordings, live performances, and film and television soundtracks. Music publishers are responsible for protecting the copyright of the compositions in their catalogue and for collecting royalties on behalf of the copyright holders when the compositions are used. They also work with songwriters and artists to promote the compositions and help them find opportunities to have their music used in various media.


Q: How do your agreements work?


  • Option 1* - Our standard music publishing agreement is exclusive and includes sync. The initial term is 1 or 3 years. The agreement automatically renews for one consecutive year.

Full publishing means broader monetization. No minimum track count.

The main perk here is that this is global. we have distribution to major networks worldwide including UK (BBC, ITV) Korea and Japan, France ( France Medias Monde, Publicis, and many others). This also comes with free music distribution. Keep 100% of royalties on your first release and 90% on the rest. We provide ISRCs for your recordings that do not have them.

  • Option 2* - We have a non-exclusive publishing and sync for labels only. Everything above, limited to the US. Minimum track/song count of 100 songs.
  • Option 3* - Sync-only exclusive. We negotiate sync licenses for the songs assigned. You retain publishing. The split is 60/40 your favor on sync licenses. Nothing else. Worldwide. No minimum track count.
  • Option 4* - Lastly, sync-only non-exclusive. Same as above but not exclusive. The split is 50/50 in your favor on sync licenses. Worldwide. Limited opportunity because we cannot always guarantee the availability of the song. Minimum songs/tracks count of 20.

Outside of sync - we offer standalone music distribution. There is a one-time setup fee. However, it is complimentary to full publishing artists/songwriters.

Bottom line. You can opt into all. It has to be signed separately. Specify which agreement you want the track(s) you are sending to be added to, during upload.

Q: In your publishing agreement there’s no specific mention of the publishing percentage. What is the percentage split?

A: Our agreement refers to this in terms of the "publisher's share" and the "writer's share". Each comprises half of total publishing shares.

50% of this is the publisher's share and 50% is the writer's share.


What is the main difference between your sync service and publishing representation?

The main thing to keep in mind is that sync agreements are for just that. Music license to sync the song in timed relation to moving picture.

A publishing representation's purpose is to find every monetizable opportunity for your music, globally.

When we're your publishers, we distribute your music to our agents worldwide and register the songs in multiple countries to capitalize on each opportunity.

for example, we provide music to the BBC and ITV in the UK. We can only add your music to our UK catalog under a publishing agreement.


We differ from all the rest. We don't charge you a release fee or yearly subscription to keep your music up. We only charge a one-time set-up fee.

If you are a publishing artist, that fee is waived.


To submit music to add to your existing agreement, please send streaming links ( Disco, Google drive viewing link, Spotify, Soundcloud, Apple music, etc…)

Any music sent or uploaded to our will be automatically be added if it meets our standards. We ask that you only upload music that you feel will meet our standards and also email us the metadata at

Q: I have sent my music, the metadata, and all the info you requested. What now? When can I expect my first placement?

A: We will now add your music to our platform and make it available to our agents and clients to license. We will also be pitching your music to various projects. We send out briefs and quarterly "looking lists" to inform artists of what we're looking for. This is exclusive to publishing artists.

It can take several months to a year or multiple to get a placement for a TV series or a major ad. Many factors have to align. But the better your music, the better the chances. And with Audilus, your chances only grow each day. Now that you have us as part of your extended team to help monetize your music, the only thing left to do is to continue to make great music and connect with your fans. We'll do the pitching.

Q: Do I need to submit different versions of my music?

A: We require all cut-downs ( 15, 30, 60 seconds versions) for production music. Stems and underscores are a plus if you have them.

Q: Do I need to have instrumental versions?

A: Yes - Instrumental versions of full songs are always needed so we ask that you make them available


Q: How do I get the money? Is it a direct deposit or a check?

A: It will be sent to your email where you can direct deposit it where you wish (Venmo, Bank etc..).

We use FoundBank for payments. You can create a Found account using this link: - (and receive a $20 bonus from Found)

They are FDIC-insured. You can link other accounts. If you have a different email or phone number that you would like us to use, please let us know.

Q: How do I know that my music was placed?

A: For Placements, if it's US TV, the majority would come from ASCAP. There's always a 6-month delay between air date and the statement/payment date. If the placement is not part of a larger deal then there would be an upfront fee which we pay out once it crosses the threshold. Outside the US TV also works almost the same with a slightly shorter delay. For feature films and advertisements, we will let you know once the license agreement is executed by both parties. We're working towards regular statements for each quarter regardless of whether there was a placement or not.

What Is Sync Licensing?

 Sync licensing, short for “synchronization licensing,” is the process of obtaining permission to use copyrightedmusic in conjunction with visual media such as TV shows, movies, advertisements, video games, and more. Itinvolves a legal agreement between the copyright owner of the music and the party seeking to use that music,allowing the synchronization of the music with visual content.

Here’s a breakdown of the key components:

Synchronization License: This is the actual agreement that permits the use of music in sync with visual oraudiovisual content.

Composition and Master Use Licensing: Sync licensing can involve two separate rights – the composition(the written song) and the master recording (the actual recorded performance). Both may require separatelicenses.

Music Supervisors: These are professionals who select and secure the rights to music for use in variousmedia projects.

Licensing Companies: Entities that represent artists and help negotiate sync licensing deals.

The sync license specifies the terms of usage, including placement, permissions, and payments. It’s a crucial partof the music industry, providing an additional revenue stream for artists and composers while enhancing theemotional impact of visual media with music. 

Artists can benefit from sync licensing in several impactful ways:

Financial Rewards: Artists receive payment when their music is used alongside visual content such asfilms, TV shows, and commercials. This can be a significant source of income.

Exposure and Audience Reach: Sync licensing can introduce an artist’s work to global audiences,especially if the music is featured in popular media. This can lead to increased visibility and potentiallyattract new fans.

Residual Income: Some sync licensing deals can provide ongoing income over time, not just a one-timepayment. This creates a steady revenue stream for artists.

Creative Collaborations: Artists have the opportunity to collaborate with brands and creative projects,which can lead to further professional opportunities.

Expanded Opportunities: The demand for unique music in video games and online advertising hasexpanded licensing opportunities, providing more avenues for artists to showcase their work.

Overall, sync licensing is a valuable avenue for artists to monetize their music, gain exposure, and collaboratewithin the entertainment industry. 

Real questions by real artists. Real answers.

Q: Can you tell me about me waiving the songwriter's share - pros/cons for both of us? 

A: Sure, you retain your song writer share. We retain the publisher's share. You are not waiving any songwriters share with us.

Q: What would the plan be for “my song” - from fine-tuning it (very willing to do that) to getting it in front of people?  

A: We register and distribute to our agents globally and pitch it to our clients for use. We also showcase and make it available to license on our site (

Q: I received the contract. Can you break it down for me?

A: Key points of our agreement:

Standard publishing splits 50/50. 

Sync splits are 55% for the artist

Optional 1 or 3 years

We register, and distribute your music globally to our sync agents for placement. 

We pitch you music to TV, advertising and other AV projects.

We grant and negotiate licenses for use of your music on your behalf

We work to raise the value of your music and create on going royalty income from the use of your music.

We monitor the airwases and ensure that your music is not used anywhere without a license.

Q: By retaining the writers share, the contract states:

In no event shall Audilus be responsible for the payment or collection of any third party royalties or other payments, including but not limited to “songwriter royalties” or the “writer’s share” of any royalties or other payments with respect to any Track, and Licensor shall only look to Audilus for the payment of such Direct License Fees received by Audilus as provided in Section 9(a) above. Licensor shall be solely responsible to monitor or engage in the maintenance or procurement of a valid license from ASCAP, BMI or any other performing rights society, and Audilus expressly disclaims any obligation to do so. 

Should I therefore register the song myself with ASCAP for at least the sake of documenting that I’m the “writer”?

 A: Feel free to register your songs, but do not add Audilus as your publisher. The publisher is required to register the songs with them as your publisher and add you as the writer for the term of the contract. We represent 6500 + songs and there are no incentives to cheat you out of one song.

However, we advise you to let us register songs that are unregistered that you want us to represent.

Q: Can you explain the clause regarding Collective Bargaining at Section 12 E?  "Neither Licensor nor any other Person (including the performers of the Tracks) shall be entitled to any benefits under any collective bargaining agreement that may arise out of any Licensed Use, or any other use by any Person or the exercise of Audilus’ rights contemplated hereby."

A: All of section 12 is Representations, Warranties and Covenants of Licensor - and cannot be split sentence by sentence

The Tracks were not recorded under the jurisdiction of a union or collective bargaining

agreement, and all of the performers of the Tracks consent to the use of the Tracks as contemplated

hereby. Neither Licensor nor any other Person (including the performers of the Tracks) shall be

entitled to any benefits under any collective bargaining agreement that may arise out of any Licensed

Use, or any other use by any Person or the exercise of Audilus’ rights contemplated hereby.

Q: Please explain this clause (Section 12g): Licensor hereby gives Audilus the benefits of any representations or warranties which it has obtained or shall obtain under any agreement affecting the Tracks, including songwriters’ contracts.

A: See above

Q: In the rights to names and likenesses clause (Section 13), it states Audilus can use this in perpetuity, does this mean including after the contract should terminate? 

A: Here's one way to think of it; If we post your album cover or share your music along with your album cover and picture, we cannot go around the world tracking everyone down to tell them to remove it after your agreement has expired.

Q: In section 14 A, "Audilus shall have the right to deduct or withhold income or other similar tax from sums payable to Licensor hereunder pursuant to the laws of the relevant territory, provided that Audilus shall, where readily available, furnish to Licensor, with each statement, any necessary information which shall enable Licensor, upon presentation of such, to endeavor to obtain income tax credit from the United States Internal Revenue Service or other applicable taxing entity for taxes so withheld."

- Can you explain this clause? 

 A: You will receive a w9 so we can report to the IRS any payments to you. In the event that we are asked or required to withhold any payment by an entity such as the IRS, we will do so.

Q: Indemnity clause (Section 17): Being that I did not write these lyrics, yet are in public domain, can someone eventually sue?

A: Not eventually. Unless you collaborated with someone on the musical arrangement and did not properly compensate them for their work. For further info, please consult an attorney.

Q: Are there any other royalties which may be accrued via licenses that are not mechanical, synchronization,  master use, or performance and are not mentioned in this agreement for reason? Such as digital performance royalties?

A: Digital performance royalties are performance royalties. We are not a record label. So we only deal with publishing-related royalties.

Q: You mentioned ownership reverting back to me once the term ends, however, the clauses on both “collection, and allocation of gross administrative receipts” (sections 10 and 11) states publishing income remain with Audilus in perpetuity. Can you clarify this? 

A: We will collect in perpetuity, just as you would, royalties on licenses secured during the term of this agreement.

If you have further need for understanding our agreement, we advise that you consult an entertainment attorney.

How do i become a music composer?
To become a music composer, you will need to have a strong foundation in music theory and be proficient in an instrument or software program used to create music. Here are some steps you can take to get started: .Take music lessons or classes to learn about music theory and composition. This will help you understand how music is structured and how to create your own compositions. Practice regularly on an instrument or with music production software. The more you practice, the better you will become at creating music. Find opportunities to compose music. This could include writing music for your own band or ensemble, creating original compositions for school or community projects, or collaborating with other musicians or artists. Consider getting a degree in music composition. While it is not required to become a composer, a degree in music composition can provide you with a strong foundation in music theory and can also help you make connections in the industry. Network with other musicians and industry professionals. Building relationships with other musicians and industry professionals can help you get your music heard and potentially lead to more opportunities to compose music.
What are music nfts
Music NFTs (Non-Fungible Tokens) are digital assets that use blockchain technology to represent ownership of unique musical works or other music-related items. They can take the form of audio files, videos, artwork, or other types of media. Music NFTs are often used to sell exclusive access to new songs or limited edition items, such as signed albums or merchandise. They can also be used to authenticate ownership of physical music items, such as rare vinyl records or concert posters. Buyers of music NFTs typically pay with cryptocurrencies, such as Bitcoin or Ethereum. The use of blockchain technology ensures that the ownership of the NFT is securely recorded and cannot be replicated or counterfeited. Music NFTs have become increasingly popular in recent years as a way for artists and music industry professionals to monetize their work and connect with fans in new ways.
How do I become a music producer?
To become a music producer, you will need to have a strong understanding of music theory and be proficient in recording and production techniques. Here are some steps you can take to get started: .Learn about music theory and production techniques. This could involve taking classes or lessons, or self-study using online resources or instructional books. Practice using recording and production software. The more you practice, the better you will become at using the software and creating professional-sounding recordings. Find opportunities to produce music. This could include working with local bands or artists, creating your own music, or volunteering to help produce music for school or community projects. Consider getting a degree in music production or a related field. While it is not required to become a music producer, a degree can provide you with a strong foundation in music theory and production techniques and can also help you make connections in the industry. Network with other musicians and industry professionals. Building relationships with other musicians and industry professionals can help you get your work heard and potentially lead to more opportunities to produce music.

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