Finally, Publishing Administration for the World’s Songwriters

By Jeff Price & Jamie Purpora

This is insane.

Before TuneCore launched its songwriter publishing administration service, over 99% of the world’s songwriters had no way to get all the royalties they earned from the use of their songs.

It sounds bizarre, absurd and impossible.  After all, what sort of screwed up industry creates a structure that generates musicians hundreds of millions of dollars in royalties, but denies them a way to collect them?

The fact is: every single time a song is streamed, downloaded or publicly performed (i.e. TV, AM/FM radio, a retail store, venue, etc.) the songwriter is—by law— required to be paid.  The money is being generated, it exists, it’s being accounted for in business plans, it’s going somewhere, but just not to the people who earned it.  Until TuneCore built and launched this thing , there was no pipeline for the masses to get their money.

Look at the TuneCore Artist community. Over the past few years, TuneCore artists globally sold over 600 million copies of their recordings, and, in so doing, earned over 300 million dollars.  As these artists also wrote the songs that were sold, they earned another 60+ million dollars in songwriter royalties, but did not get this money!  There was no un-gated scalable mechanism to do it.  The only option that existed was the old school model: the artist/songwriter would have to bang on the doors of the traditional industry in the hope that the gatekeeper would pick them from the millions and millions of songwriters to get “signed” to a global publishing deal that would get them some small percent of their money.

And if by some crazy twist of fate they did get a music publisher to respond to them, they would get a 30 page form agreement loaded with more twists, hooks and hidden surprises than the plot to Lost.

So the world’s songwriter money just sits in different countries around the world remaining undistributed until it is eventually given away to other people, or, worse, used by music services without the proper licenses.

Think of it this way.  You can’t have Peter living in Berlin, Germany tell a music service that he represents Joe Smith from Boise, ID when he is not in a deal with Joe Smith.  And you absolutely can’t have the music service pay Peter on behalf of Joe, have Peter take a piece of Joe’s money, and then give the rest away to other people.  But that’s more or less what was happening, until fate introduced me to Jamie Purpora, then SVP of Bug Music Publishing Administration—the world’s largest independent music publishing company.

Jamie’s job at Bug was to set up the pipelines to go and get the money from around the world for over 300,000 songs Bug represented; songs from Johnny Cash, Kings Of Leon, Willy Dixon, and lots more.

And Jamie schooled me big time.  My God, the secrets that man knows about this side of the industry are astounding.  The nooks, crannies and crevices this industry uses to filter, hide, confuse and obfuscate were created by an evil genius.  In 2010, there was over $11 billion dollars funneling through this antiquated, outdated, opaque songwriter pipeline with only a handful of the world’s population understanding why and how it works.

I asked Jamie to come work for TuneCore. And after 17 years of working at Bug Music, he left to change the world for songwriters.

No more gatekeepers, no more hooks, no more secrets or hidden surprises that were known to only the “elite” few who knew how to enter and navigate the labyrinth.  All could now come in and get their money more quickly and with more transparency than has ever existed before.

The results to date over the last five months:

We are now working for over 3,500 songwriters that have written over 60,000 songs.

From these first 3,500 songwriters, we have identified $1 million dollars in songwriter publishing royalties these songwrtiters have earned, but did not receive— we are putting that money into their hands.

From October – December, 2011 we collected and administered back over $3,500 in songwriter royalties.

From January – March, 2012, we collected and administered back an additional $27,000 in songwriter royalties.

From March – May, 2012 we will collect and administer back another $75,000.

I asked Jamie why and how he did this.  Below is his answer:

For 17 years at Bug Music I administered over 300,000 copyrights and paid 3,000 clients every quarter (resulting in 500,000 sheets of paper and 12,000 checks per year).  Because the agreements, schedules and outgoing royalties were all printed on paper it required a large staff and made it a huge task to manage on a day-to-day (or quarter-to-quarter) basis.

(pictures below taken around March 2011)

The music publishing business was still, for the most part (and still is), operating as it did in the 1990s.  With the exception of registering songs electronically (after you entered them by hand into a separate system, of course) and using an interface to match incoming royalty data (from most sources, not all), the entire business still relied on pushing paper and heavy data entry.  I wanted to create a model where you do your agreement, submit your songs, tax information and a letter of direction, and also receive your accountings and payments all online.

Then I met Jeff Price.  He introduced me to TuneCore. I saw the perfect place to make my vision of bringing publishing administration into the digital world.  Because TuneCore distributed the songs (most of which were not represented by anyone for the songwriter or publisher, which meant they were all missing out on millions in songwriter revenue) the information was already in the TuneCore database.

That same data, with just a few added pieces of information, could be used to register the songs with the societies and digital stores worldwide.  All the writer/artist had to do was claim the songs they wrote and what percentage of the song they wrote.  Change the paper agreement to a terms and conditions agreement online, add a digital W-9, and a mouse-signature letter of direction, and the sign up process— one that used to required a business and legal department with several assistants—is now done entirely online without any involvement by our staff.

Because the schedule was created online using pre-existing data (with a few added fields) it could just be loaded into the publishing database instead of hand-entered.  The songs are then registered weekly with over 100 societies and digital stores worldwide (as opposed to the once a month time period of the old model). The same thing could also be done with the client’s information (writer name, publishing entity, tax information etc).  Because the customer already receives payments for their distribution royalties, the royalty details and payments for them as a songwriter, can also be posted on their TuneCore dashboard.

For the first time, you have administration of distribution and publishing all in one place, and all online with the added benefit of auditing each against the other.

With the skill and help of the Tech team at TuneCore we made this a reality.  Since launch, we now represent over 3,500 songwriters and over 60,000 songs.  We are working for between 500 and 800 new songwriters a month and growing.  Had we done this in the 1990’s publishing world I described above we could only work for around 15 new customers a month.

DIY publishing administration is now a dream come true.

The doors of publishing administration are now open to the world’s songwriters.

  • Randy

    this is incredible!!

    • Jrabellard

      so does that mean I do not need to register with BMI or ASCAP or SESAC any more?

      • Songwriters

        Yes you should still register with them.  As a writer for free at BMI preferably.  They pick up radio and TV.  We register your songs with them electronically and make sure they have your data properly in their system.  What they do not do is collect mechanical royalties from streams and downloads.  We administer all royalty types.  Please see the attached link from our help section for more details:

        Thank you


        • Luis

           I’m not a US resident, so in order to get my royalties from TV and radio I must register with an entity in my country similar to ASCAP?

          • Antonia

            Has anyone ever benefited?   After rate increases, etc it sounds like just another mean of thousands of people to cough up $50 in one pop.  I’m sure tunecore is talking about the new titles you put up, which they already are suppose to be collecting royalties on..  including streams..

          • Anonymous


            Why would you come to our blog and post something like this which is not only false, but misleading?
            Of course people have benefitted. We have gotten back over tens of thousands of dollars to our customers that would not have gotten it if not for us.
            Learn your copyrights. Understand how you make money and then understand where it is.
            If you wrote a song, each and every time that song is downloaded, streamed or publicly performed you made money
            heres an example, your song is downloaded in Japan, Germany, Italy, Greece, Spain, France, England, Switzerland etc etc etc
            If you wrote the song, you are owed royalties

            Please explain to all of us how you would go about getting them.

            And no, the money paid to TuneCore or any other company by the digital music services outside of the US does not include the songwriter money.
            This is a second separate royalty. So please tell us all how you would get it and how much you are owed.
            You came to our blog and suggested no one has “benefitted”. You attempted to discredit us.
            So please, educate us all, provide how you would get the money you are owed as the songwriter from a download or stream outside of the US.
            The sad truth is you cant, not on your own

            This service gets it for you.

            Go here to learn more –

            learn about your six legal copyrights. Learn how you make money and why you are not getting it.


          • Van

            What if I have a case where a royalty company never paid royalties for something I have evidence/proof of? I have several retail chains who I have licensed my music and have been provided with a hard number of plays. This started in 2009 and I have yet to receive a penny.

            Will you track current royalties due or past due as well?

          • Anonymous


            for what you describe below, I suggest you hire a lawyer as there are large infringement issues.

          • Songwriters

            I would affiliate with BMI as a composer.  There is no sign up fee there to do so and it does not matter where you live.  

        • Jrabellard

          Hello Jamie and Jeff,  I fine your tunecore invaluable with this service that you are providing.  I have just been offered a distribution deal from ingrooves fontana and the only reason I am doing it is because they place me in 400 digital stores and they give me supplemental marketing and placements that would not possibly available to me.  They do not take ownership in my work. So I can still have tunecore collect for me as a publisher and a writer separately presently correct? I know before the songs had to be distributed via tunecore but now it does not matter correct?  Again I love what you guys offer including the reading material is 

          • Anonymous

            You do not need to use Tunecore for distribution to use us for publishing administration.
            On a side note, we market and promote as well. We had over 2600 releases featured in iTunes Starbucks and other digital stores in 2011
            The difference between us and ingrooves is we do not take a back end percentage for the placements and they do
            In regards to the volume of stores, with all due respect when not just use us for the ones that actually matter and have them place your music into the stores that have no market impact
            Thank You

            Jeff Price

          • Anonymous

            Forgot to mention, why not use us for both distribution and publishing administration and make more money through TuneCore you then with any other entity in the world.
            And I can assure you, any feature placements open to you we will get as well..
            If ingrooves can deliver on its promises, why is it TuneCores artists dominating the iTunes charts?
            Thank You

            Jeff Price

  • Math Whizz

    From these first 3,500 songwriters, we have identified $1 million dollars 
    From October – December, 2011 we collected and administered back over $3,500

    So your fee was $996,500.00? Good business! :p

    • Anonymous


      We identified $1 million dollars for our customers

      Now we go and get it

      You cant get the money if you dont know its out there

      and as much as I wish I could wave a magic wand and make all the places around the world just send the money they have that is not theirs, i cant
      we need to show up place by place by place and pry it out of them

      As an example, your song is downloaded or streamed in Japan, Italy, Spain, Greece, France etc etc
      You earned royalties.

      So you tell me, how do you get it?

      TuneCore goes and does this for you



    Will Definitely be signing up as soon as I get back to my PC :-!!!

  • anonymous M

    Math your math is wrong – go read again

  • anonymous M

    Math your math is wrong – go read again

  • Sniperatn

    dear jeff and jaime how are you buddies ….can you help im looking for a publishing deal any where im from the states but giging in london …? look me up on youtube and soundcloud new singer songwriter fresh ……… lol lol  tommy stoneberg

  • Sniperatn

    this is a great write up coooool   

  • Chekuout

    @ea5d6564cbf0284446ab066ede0dac82:disqus : yeah, Math Whizz has bad math, but I’m still only seeing $105,500 of the million bucks going to the songwriters. Okay, they have “identified” a cool mil, and “administered back” $105,500. What’s happening to the other $894,500? Anyone?

    • Anonymous

      @6bcbee18b2be7481215f6ca3e4281204:disqus  It depends on the sources that we retrieve money from. Some sources account as far back as 6 months some 5 years. There is a lot of digging up to do and many sources lag in providing the proper royalties. Therefore the money is not in the pipeline yet.
      Thank You!


      • Songwriters

        So basically this money is on it’s way as we speak.  It is in the pipeline.  The songs were registered with the societies and sources and now we audit them.  Because we have the data from the distribution sales no society or digital store can argue or refuse to pay these mechanicals due.  You are seeing what we have

         accounted back so far.  The rest is on it’s way.  The math is correct.  Copyrights are owned rights that need to be managed in order to receive the royalties. We handle that for you with this service. 

        Thank you



        • Golden Boy

           What about a songwriter with a catalog of more than 300 songs?Your service should work with only the CAE number not than to push artists to release all their songs viaTunecore distribution.Why not do like CMRRA or MCPS?We are artists and we are looking for the best deals.

      • Golden Boy

         What about a songwriter with a catalog of more than 300 songs?Your
        service should work with only the CAE number not than to push artists to
        release all their songs viaTunecore distribution.Why not do like CMRRA
        or MCPS?We are artists and we are looking for the best deals.

        • Songwriters

          @ Golden Boy  
          Most songwriters don’t have CAE numbers yet because they are not affiliated.  It is also a field that is optional during the sign up process.  If you don’t know it we will find it for you. Remember we also register new titles as well as administer and update pre-registered titles.  The issue is not all of the entities holding the money have all of the proper information.  Also we administer any titles you submit regardless of whether or not they are distributed through TuneCore.  And what if you have a preexisting schedule deal somewhere else for a few titles?  Then we can administer the songs not tied to that preexisting deal.  If we used a CAE number it would pull all songs for that specific writer and cause conflicts etc.  This is a schedule deal for only the songs you pick.  
          Thank you

    • Anonymous

      ummm, this is what the service does

      first we identify it, then we go get it

      yeesh…it just takes time to go claw it out of the entities that have it around the world

    • Rugaholda45

      I still haven’t seen my royalties thru tunecore ASCAP or sound exchange & I get my spins daily thru jango fm radio & All other registered licsensed venues & sites … what’s up wit that???

      • jerome t

        Did you sign up for Tunecore’s Songwriter Service that specifically go after all extra monies?!!

  • DwanG

    Please explain which number will be tracked. When the song is set up in Tunecore, you issue a Song ID number and another number next to the play button.  When the song is distributed through Amazon, ITunes and the liked stores, another number is generated.  Which number will be used to talley your plays, streams, and sales.  Further, have you created a link that allows the songwriter to view the number of downloads in the digital stores?

    Your write up sounds great.  If you self publish, you will receive 200%.  Yes, yes, yes!!!

    • Anonymous

      @DwanG The same apple, spotify, rhapsody, etc IDs issued from distribution will be the same ones used to track your songs. 

      Thank You!


  • DwanG

    Excellent question.

  • Jorge Barreiro

    Dear Jeff.  Cool move.  I saw this coming since I started reading your articles and I saw even more moves I assume you’ll do in the future.  Good work and good business.

    • Anonymous

      thank you for the kind words!


  • Sammiejowhitecloud

        i am a song writer want to get my music out there but would you help me

  • ovadose954

    thats wats up!!!!!!

  • Golden Boy

    They need to change the way  they want to do it.Why are you asking to pay for the service and you only work on a part of a catalog.So why are you asking for the CAE number? You only need the CAE to cover every song by a songwriter.For me this service has a lot of limits.

    • Rugeirn Drienborough

      “Golden Boy,” you already have your answer. Go read it.

  • Dcl10n3

    How does this work in collaboration with SoundExchange, the DDEX – a flow of data contained on digital media that has been adopted by Google, Apple, and other big names – and of course the ever so important PROs? I recently found out that you have to submit your set list at the venue you played at on the date you played it and highlight which songs were written by you and registered with the PRO to be considered a public performance on their “survey.” You also need to submit similar data for any plays on indie radio stations or local shows. The problem with this is if you have co-writing credits with a band you no longer play with and they still play shows at venues 5 nights a week and you have no idea what the set list is. How does this work for songs written and registered with PROs already? Is there some way of getting payments in arrears for what you are “owed” or is it a start from scratch platform? I just hope you don’t charge another administrative or membership “fee”… Ticketmaster has made a fortune doing that – money that should be distributed to the performers, publishers, and songwriters. What’s the long term plan? How is this going to hold google accountable for youtube or inspire fans to actually buy music, go to shows, and see music as something of value and not an entitlement?

    These are legitimate questions and I am not trying to discredit the wonderful step in the right direction. It just seems that if DIY artists want to make a living playing/writing music, you have to be 10% musician and 90% entrepreneur. I doubt Spotify would be more than a blip on the map if they were paid $.001 per play and had to ask for it from the musicians.

    If possible could you do a DIY musician tutorial on business plans to maximize earning potential and include a numbers break down for a solo musician to a five piece band? Maybe a how to on sponsorship, angel investors, seed money, hedging against people trying to profit off of you as opposed to helping you. Break it down into sections starting from the beginning of “work at your craft every day even if you’re not inspired” – The War of Art by Steven Pressfield. Write a song, record it, mix it, master it, fill it with all the necessary metadata, officially copyright it – that’s the easy part. Levels of incorporation, self-employed, partnership, sole proprietorship, llc, s-corp, c-corp and how each work giving musician examples of success. Competitive analysis, marketing strategy, realistic financials for 3-5 yrs for a band that tours 4-6 months at small venues and releases a 12 song album once a year with earnings potential from each of the 13 streams of income. I digress, just end the series with the executive summary that incorporates the mission, vision, and core members with a little advice on how to perfect an elevator pitch when talking to potential sponsors/investors. You could even show how TC helps you every step of the way….Just a thought.

  • Lukas Lessa

    If my band starts its own publishing company/entity for our original, co-written songs, can Tunecore for Songwriters still administer the publishing of those songs??

    • Songwriters

      Yes we can and do already for several songwriters.  This is an administration deal.  We administer your copyrights.  As long as another publisher (like a major publisher like EMI, Sony Universal etc) do not have administration rights for your songs we can administer them.

      Thank you


      • Lukas Lessa

        Great. Thanks for the quick answer. If my band starts its own publishing company and the writers register separate tunecore accounts… can you pay a publisher’s share of 50% minus your 10% for administering to the main tunecore account (the one w/ the releases in it)??
        For example: you collect $100.00 in publishing for “Song 1” this quarter. Writer A, B, C, D each have a 25% share in “Song 1”, which is published by the band publishing company and administered by Tunecore. Can you take 10% ($10), pay $40 to the band publishing co. and pay the writers the remaining $50 ($12.50 each)?

  • Frank May

    Ok, it certainly nice to have someone to negotiate on my behalf. Hopw far can TuneCore admin get with this?  40 years ago tomorrow (26th May 1972) I sat in the back of a Kombi Van and penned the lyrics for one of the world’s most popular tunes of the last three decades. A musician composed some acoustic music while the lyrics were penned over a period of 26 minutes, I had for company a lady who introduced me to this musician and his manager to while we sheltered from the light rain and thunder out side. That lady gave me breakfastThis was at the Great Western festival inBardney in the UK. Throw in a vgemite sandwich, a man selling blocks of marajuana and you have the seeds for a very well known song.  “I come from a land down under” APRA and AMCOS have collected royalties for a number of years for an unknown writer, it even has its own APRA index card number, I still have not been paid for my authorship of this song.  Can tunecore help? Be interested to hear from you if you can.  Frank R May Tokoroa NewZealand

    • T Branston

      Have you checked out The performing Rights Society (PRS)


  • M Projekt

    Hi would Jango Radio be included as Ihave had over 70.000 plays on there todate .

  • Addagirlmusic

    I hear you talking…. and it all kind of makes sense…. but in an trustworthy world,, all I can do is trust that you have the best intentions for us songwriters. I pray so. The traditional format is such a messed up and difficult to understand/follow (and sloppy) business model ( IF YOU CAN REALLY CALL IT THAT). Somebody needs to do what’s right. I know that big money changes everything and my prayer is that you walk like jesus through a corrupt and sinful music business world. Linda Mckenzie, Tunecore singer songwriter.

  • Az_sunflowers

    THANK YOU!!!!

  • Sam Tall

    This is a great service and all, but my only gripe is that you’re touting this service as the first of its kind and the only thing like it in existence, when Songtrust beat you to the punch by several months. Songtrust does ostensibly the same thing and is backed by the full-on publishing arm of Downtown Music. I don’t see why TuneCore’s songwriter administration service is any better than Songtrust, when Songtrust doesn’t only collect all performance and mechanical royalties, but also includes artist works in the Downtown Publishing searchable catalog for sync usage.

    • Anonymous

      @ Sam

      TuneCore is in direct deals with the digital music services increasing revenue to the songwriter by over 25% while getting them their money more quickly. SongTrust does not have these direct deals, therefore it pays less to the songwriter as the songwriters money gets dipped and double dipped by collection agencies before they can get to it. In addition, it takes them more time ( six to 18 months longer) to get it before they then get it back to you.
      In addition, as TuneCore provides distribution, it has the audit trail for publishing assuring that the right amount of money is coming in. For example, digital music services tend to under report by 30 – 50%. As we have the data, we catch them and get the money that was not paid. SongTrust does not do this and has no way to verify if the information is correct.
      also, we do not charge more money to register more songs. Its a flat rate of $50 for unlimited songs – SongTrust has caps as to how many songs you want to register based on pricing.
      in addition, TuneCore also does not commission mechanicals on downloads in the United States, has no post term collection and is non-excliusive on synchronization licenses (and yes, we issue them out of our office)
      stated more simply – TuneCore will get you more money, more quickly with more transparency and an audit trail. No one else has that….

    • Songwriters

      Songtrust do not have the distribution component.  If you distribute and do pub admin through TuneCore you will get all of your royalties due because this creates an automatic audit trail for mechanicals from downloads and streams.  They can’t do that.  The synch component you mentioned: coming soon…..


  • Snsharbaby81

    Is there an extra fee for Tune Core to do this?

    • Anonymous


      Registering Songs:

      There is a special limited time offer – it’s a one time set up fee of $49.99 per songwriter.
      This fee covers costs to register your songs with the current and future global organizations and services that use, license, collect and pay out money on your songs.
      Collection Fee:

      TuneCore only gets paid if it finds, collects and gets back your money sitting out there in the world not in your possession. TuneCore receives 10% of the money it is able to directly collect and get back to you.
      You can read more about it here –

  • Powerfinger

     I have a question about the service – If a song is co-written by people not in the same band/publishing agreement, how is this best handled with your service?   Should each writer be a member of the Tunecore service or should the “majority writer” just administer to the co-writers after the disbursement is received from Tunecore?

  • Anonymous

    Well, they have done it: it’s a beautiful dream that came true. I told my friends here that without the TuneCore’s and its partner(s) idea, this sort of service wouldn’t exist.
    The best thing is that it’s ‘implemented’ in our own account so every user (= member) can view the stats.
    This was actually we all were waiting for. So why didn’t it happen earlier?

    As a client I’m still satisfied with the TuneCore services and the ‘administration-part’ starts to work.
    Good news to us all and compliments to the hard-working!
    (I remembered that we discussed this issue a few months ago and here we have the wonderful story …)

  • Anonymous

    Sorry for asking this technical question. I’m not an expert, but I would
    love to know how TuneCore is handling (collecting) the ‘royalties’

    Does the team running a sort of ‘Soundscan’ (Nielsen) or just knocking at each door’s office in each country?

    Is it an advanced method they are using to ‘pick up’ that piece of sound
    during a radio airplay? I suppose to believe that here where I live,
    people are checking these registered signals so they have an accurate
    list of all the activities by first sending them, for instance, a small
    audio of one of our songs once. 

    • Songwriters

      For performance royalties we collect from each individual society depending on the territory (ASCAP, BMI for US or PRS for the UK as an example).  We are directly affiliated with all of them.  They key point is we have your distribution sales data and there are mechanical and performance royalties due when your songs is streamed.  So we will audit the sources by using the distribution sales you have to make sure they both line up and that you are receiving those royalties.

      • Anonymous

        MANY THANKS for the answer! I was just curious. Actually, many of them would like to know how things work.
        Still sounds great that, finally, it worked out for you, TuneCore ‘runners’ to get everything done.
        Once again, good luck with the new ‘Administration’ job.

        Good work, after all.

  • Richard Bowen


    I own and operate a small recording label, and I’ve also acquired publishing rights for many of the songs released on my label.  I’d love to leverage this service, as I already use TuneCore for my albums.  Is it possible for me to register as a publisher along with the songwriters?  Or do you just have a single “songwriter’s share” that is split up?

    If you’re system isn’t setup for publishers, would there be legal ramifications for signing up the publisher as a “songwriter” for their entitled portion?  I’ve spoken with my songwriters about this possibility, and they are comfortable with it, as long as someone on the other side of the fence isn’t going to get upset.

    Thanks for such an outstanding service!


    • Anonymous


      I asked Jamie to reply. Bare with us, it might take longer due to the memorial day weekend
      Thank You

      Jeff Price

    • Songwriters

      We would need to see copies of your agreements with the individual songwriters.  If you have those we can move forward.  Please email us at and we will send you a list of things needed to claim songs written by a third party.  But again we must have copies of your agreements with the writers you publish on behalf of.

  • Richard Bowen

  • Lizadrex

    Question:  Am about to affiliate with BMI (already a member as a composer) as a Publisher.  They are asking for a DART agreement.  Does your service replace this or can I sign up for both??

    • Anonymous

      If you sign up with TuneCore, we will do the pub affiliation with BMI For you. There is no conflict, we provide more services and are complementary to them
      Thank You

      Jeff Price


    can you find out if my song (leave the budlight on) has made more than 1 dollar wich iv never received from anyone i fell into a trap thanks terr ball i have a dissability from accident in 1991 didnt know what in the heck i was doing check it out

  • alfred jesse smith

    I, am a recent member of publisher administration. and my question is? I have a few, notice.of intentions to obtain a compulsory I report to you,or do you automaticly pick music reports? thanks alfred j smith.I’m hip productions ascap

    • TuneCoreSongwriterInfo


      Any requests from a media entity for the songs TuneCore is administering on your behalf, should be forwarded to and we will handle the negotiations and license issuance for you if necessary. Music Reports are sending Notice Of Intent licenses. Those should be forwarded to us as well so we can track those uses and make sure you are paid for them.


  • Yehuwdiyth Yisrael

    hi, james price, my name is yehuwdiyth yisrael and i made three different payment for publishing of my; our albums and singles, for lightpowerband, limyeginen, which would be three different accounts, but what hapeen i ended up making to payments on one account and the other was covered; so, what i need you all to do is take one of the 75.00 dollar payment and pace it on the two singles on abiygayil c. yisrael’s account with the singles titled you make me feel like gold and the other is Yahweh is the way ; so, please, please give me a call right away to let me know if that is possible to be done asap, for i have been calling on numerous occassion and didn’t get in touch with any one. please call me at 786-523-2445 ; or emailed me at urgent!!!

    • tunecore

      Hi Yehuwdiyth,

      Please contact for assistance. Our support team will be able to help you out!


  • Sebastian

    What would I get that GEMA isn’t giving me already? YouTube plays/downloads?

    • tunecore

      Hey Sebastian,

      Here’s a blog article about why you would want TuneCore Publishing in addition to a PRO:

      • Sebastian


  • Royalty Hunter

    What exactly do you mean ‘we go get it for you’, is it just sending them a stern email saying “oi, we’ve got evidence, pay up”, with some threats of lawsuits?

    Isn’t this something the a self-contained artist could do anyway, having the sales information on hand?

    Don’t services already account every stream/download/ringtone to local societies already, on a constant DDEX feed that can’t be tampered with?

    Why does Jeff keep saying the royalties have always been unobtainable by single writers & that only the gatekeepers could get access to them, but then created the Publishing Service to get the royalties writers ‘couldn’t get themselves’, isn’t that just the same thing with a different hat?

  • John

    Presumably this is initially achieved via two relatively simple steps:

    – Registering works and respective agreement data with Performing Rights Organisations.

    – Providing IP-level details (IPI Name Number) along with the Title, Duration and Performing Artist data you already supply to the online stores, allowing PRO’s to match usage data with works data.

    If the above is more or less correct (as I suspect it is), it would imply that (for an existing PRO member) the Publishing Service is only nessecitated by the failure/unwillingness to capture IP-level data at the point of product creation and distribute it to stores. Please do correct me if I’m wrong!

    Is the publishing agreement usage right-specific (i.e online vs broadcast vs live etc)?

    If the agreement was online-specific, I might be tempted…regardless of my suspicions regarding the completeness of data collected and sent to DSP’s.

    • tunecore

      Hey John,

      The Publishing Service is more about collecting the royalties that the PROs do not collect. PROs only collect performance royalties, like: radio airplay, TV placements, and Live Performances. As a songwriter you are entitled to additional royalties, like: master use fees, sync fees, mechanical fees, etc. Please see the following link to learn more about what TuneCore collects in addition to the PROs.

      If the songs are not present at the PROs, we register them. If the songs are present at the PROs, then we add TuneCore as the administrator of record so we can collect worldwide.

      To answer your q about if the publishing agreement is usage right-specific, the answer is…

      Nope. We are a full-on Publishing Administration Service and we collect all income sources.

      If you have any other publishing questions, please reach out to our team at



  • Chona Lucky 7

    Does Publishing Administration help composer’s/producers get placements?

    • tunecore

      It sure does! Check out this related article and learn what TuneCore Music Publishing Administration can do for you: