Publishing that pays its writers.
Registration, administration, collection and pitching for songwriters, composers and producers, in India and worldwide. Your music is an asset. We manage it like one.
Four jobs, done in order.
Compositions registered with IPRS and societies worldwide, splits documented, ownership on paper before anyone else can claim it.
Streaming publishing royalties, radio and TV, live performance and international collection through sub-publishers, money most writers never see.
The catalogue placed in front of films, series and brand campaigns, from Nike and OnePlus to Netflix and Amazon Prime Video, and counting.
Deal negotiation, catalogue acquisition, metadata and audits, plus songwriting camps that put our writers in bigger rooms.
Writers here, records everywhere.
The full roster is here, and every credit is streamable on the discography.
How publishing money moves in India.
Every song earns in two halves. The recording pays whoever owns the master. The composition, the words and the melody, pays the people who wrote it. Music publishing is the business of making that second half arrive: registering the work, tracking where it plays, and collecting from every society, platform and licensee that owes it money.
In India, the writer's half flows through IPRS, which licenses and collects when songs play on radio and television, at venues and events, and across streaming. Registration is not automatic. A song without clean splits and correct metadata on file earns royalties that sit unclaimed or land against the wrong names. Fixing that is the first job we do for every work on our book.
Streaming adds a mechanical share on the publishing side. Film, OTT and advertising add sync fees, which are negotiated licences rather than collected royalties. Outside India, every territory has its own society and its own rules, so global collection runs through sub-publishing and direct society relationships. A writer with an unadministered catalogue is usually earning in three or four of these lanes and receiving in one.
None of this requires giving up ownership. A publishing deal sets who administers, who pitches and how the income splits, and every one of those terms is negotiable. That is the negotiation we sit on your side of.
Before you sign a publishing deal.
A publishing deal is a working relationship with your catalogue at the centre, and the contract decides how that relationship feels for years. These are the five clauses we tell our own writers to read before any signature, including ours.
How long the deal runs and when your songs come back to you. A term with no reversion language is a longer deal than it looks.
Every co-write documented in the session, not remembered a year later. A disputed split freezes royalties for everyone on the song.
An advance is your own future royalties, early. Know exactly what income recoups against it and at what rate before you celebrate the number.
The percentage the publisher keeps, stated plainly, applied to income that is defined in the contract rather than implied in the meeting.
Registration, collection and pitching are promises. Ask what actually happened for the last writer who signed, and how often you will see statements.
Learn the business without jargons.
Splits, royalties, IPRS and PPL, sync licenses, metadata, buyouts versus royalties: the Rights Corner breaks down how the money actually moves, and there is a game that teaches you to spot a bad deal.