Find out where your music is making or missing money

6 sections. 24 questions. 5 minutes.

How it works: Check every box that's true for you. Skip the ones that aren't. Your score updates live, and you'll get a personalized next step at the end.

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Section 1 of 6 · Performance royalties

01 - Performance Royalties

Your PRO setup

Paid when your music is played publicly: streaming, radio, venues, TV, fitness classes, restaurants.

I'm registered as a songwriter with a PRO Performance Rights Organization. Collects royalties when your music plays publicly - streaming, radio, venues, TV. (BMI, ASCAP, or SESAC)

I have a publisher account or self-publishing entity registered with my PRO

Every song I've released is registered with my PRO with correct splits

I know my IPI/CAE A unique 9-11 digit ID that PROs use to identify which writer or publisher owns each song. You need yours to register songs correctly. number and have used it consistently across all releases

02 - Mechanical Royalties

The MLC

A separate royalty paid every time your song is streamed in the U.S. The single most commonly missed revenue stream.

I'm registered with The MLC The Mechanical Licensing Collective. Collects mechanical royalties for every U.S. stream of your songs and matches them back to the right songwriter. (Mechanical Licensing Collective)

My songs are matched to recordings in The MLC's database

I've checked for and claimed any historical unmatched royalties at The MLC

I'm collecting mechanicals from outside the U.S. via a sub-publisher or admin A company you authorize to collect your international mechanical royalties (where the MLC doesn't operate). Examples: Songtrust, Sentric, CD Baby Pro.

03 - Digital & Master Royalties

SoundExchange & YouTube

Paid to the recording owner when your music plays on Pandora, SiriusXM, webcasters, or YouTube.

I'm registered with SoundExchange Collects digital performance royalties for the RECORDING owner when your music plays on non-interactive services like Pandora, SiriusXM, or webcasters. as the recording artist or label

I've designated myself as both the featured artist AND the rights owner where applicable

I'm collecting YouTube Content ID YouTube's automated system that detects your music in other people's videos and lets you collect ad revenue from those uses. royalties through my distributor or AdRev A third-party service that registers your music with YouTube Content ID and collects the royalties on your behalf for a small cut.

My non-featured performers know they can claim through the AFM-SAG-AFTRA Fund A union-administered fund that pays non-featured musicians and vocalists on digital broadcasts. Even non-union performers can claim from it.

04 - Splits & Documentation

Your paperwork

What separates artists who get paid from artists who lose royalties to disputes years later.

I have signed split sheets A written agreement signed by all songwriters on a track specifying who owns what percentage of the song. Prevents disputes later. for every collaboration (writers, producers, features)

The splits on my PRO match the splits in my distributor's metadata exactly

All my work-for-hire An agreement transferring full ownership of a contribution to someone else - common when buying beats. Without it, the beatmaker may still own a share. arrangements (beats purchased, etc.) are documented in writing

I have written agreements with featured artists about master vs. publishing splits Two royalty streams: master royalties go to the recording owner; publishing royalties go to the songwriter. Featured artists typically share both.

05 - Distribution & Metadata

Where money silently goes missing

Bad metadata means royalties that are owed to you but never find you.

My distributor (DistroKid, TuneCore, UnitedMasters, etc.) has my correct songwriter info

My ISRCs International Standard Recording Code. A unique 12-character ID for each individual recording. Distributors and streaming platforms use it to track plays. and ISWCs International Standard Musical Work Code. A unique ID for the underlying composition (different from the recording). PROs use it for royalty tracking. are registered and correct

My artist name is consistent across PRO, distributor, and streaming platforms

My publishing IPI is linked in my distributor's publishing section

06 - Sync & Catalog Strategy

Your readiness for placements

For artists who want to earn beyond streaming. One sync placement can equal years of streaming income.

I have instrumental and clean versions ready for sync opportunities

My catalog is registered with at least one sync library or pitching service

I clearly own (or know who owns) the master recordings for every release

I can grant a one-stop license When a single owner controls both the master and publishing rights, allowing them to license a song quickly without coordinating multiple parties. quickly if a sync opportunity comes in

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Who's behind this

1M Management bridges the gap between intellectual property rights and creative business practices.

1M Management helps independent artists, songwriters, composers, and producers organize their catalog, protect ownership, and identify the registrations and documentation needed to collect from their music.

This assessment is built from the same first-pass questions used before a catalog audit. It gives you a clear picture of what's already handled, what's missing, and what to fix next.