Music is collaborative.<\/p>\n\n\n\n
One recording might involve:<\/p>\n\n\n\n
an artist<\/p>\n\n\n\n
producer<\/p>\n\n\n\n
featured singer<\/p>\n\n\n\n
manager<\/p>\n\n\n\n
label<\/p>\n\n\n\n
beatmaker<\/p>\n\n\n\n
That means royalty accounting can get messy.<\/p>\n\n\n\n
DistroKid Splits helps automate it.<\/p>\n\n\n\n
Instead of one artist receiving the full amount and manually paying everyone else, percentages can be assigned to collaborators.<\/p>\n\n\n\n
The platform can then allocate those royalties automatically.<\/p>\n\n\n\n
Manual royalty accounting works when you have one song and one collaborator.<\/p>\n\n\n\n
It becomes horrible when you have:<\/p>\n\n\n\n
200 songs<\/p>\n\n\n\n
35 producers<\/p>\n\n\n\n
multiple labels<\/p>\n\n\n\n
different percentages on every track<\/p>\n\n\n\n
Automating payments saves enormous administrative time.<\/p>\n\n\n\n
A split tool doesn’t replace a contract.<\/p>\n\n\n\n
Before entering percentages, collaborators should understand what those percentages actually represent.<\/p>\n\n\n\n
For example:<\/p>\n\n\n\n
master royalties?<\/p>\n\n\n\n
publishing?<\/p>\n\n\n\n
producer points?<\/p>\n\n\n\n
net income?<\/p>\n\n\n\n
gross receipts?<\/p>\n\n\n\n
Those are not interchangeable concepts.<\/p>\n\n\n\n
Distribution Splits usually deal with money generated by the recording.<\/p>\n\n\n\n
Songwriting royalties arise from the composition.<\/p>\n\n\n\n
An artist could own 100% of the master while owning only 25% of the composition.<\/p>\n\n\n\n
They’re definitely useful.<\/p>\n\n\n\n
But automatic royalty splitting has increasingly become a standard feature across modern distributors.<\/p>\n\n\n\n
Ditto, TuneCore, Too Lost and others also provide collaborative royalty-payment functionality.<\/p>\n\n\n\n
Use Splits.<\/p>\n\n\n\n
Just don’t confuse a useful operational tool with the bigger question of whether a distributor’s overall business model is right for you.<\/p>\n","protected":false},"excerpt":{"rendered":"
Music is collaborative. One recording might involve: an artist producer featured singer manager label beatmaker That means royalty accounting can get messy. DistroKid Splits helps automate it. What are DistroKid Splits? Instead of one artist receiving the full amount and manually paying everyone else, percentages can be assigned to collaborators. The platform can then allocate those royalties automatically. Why this is useful Manual royalty accounting works when you have one song and one collaborator. It becomes horrible when you have: 200 songs 35 producers multiple labels different percentages on every track Automating payments saves enormous administrative time. Get the agreement…<\/p>\n","protected":false},"author":1,"featured_media":3884,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[1378,2121,1236,2275],"coauthors":[2],"class_list":["post-3883","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-distrokid","tag-music-royalties","tag-royalties","tag-splits"],"acf":[],"yoast_head":"\n