A co-publishing partnership that puts your songs in front of film, TV, and commercial sync teams worldwide, with professional administration and a transparent split. Here is exactly how it works.
See the DealThis co-publishing structure applies to two types of songs. Either way, the deal is the same.
You have a song you believe in and you want it in front of music supervisors, ad agencies, and film studios. You bring it to Song House, we plug it into the Downtown pitching machine, and this co-publishing split kicks in.
You are a Song House artist with a single song or EP agreement. The songs you create under that agreement are automatically part of this co-publishing structure. Write the song, and the machine goes to work.
Every dollar earned on the publisher's share of your songs follows the same structure. No hidden formulas. One clean split that works the same every time.
25% covers sync pitching and administration through Downtown Music Publishing. The remaining 75% splits evenly between Song House and the writers.
Everything above applies to the publisher's share only. The performance royalties you earn as a songwriter through ASCAP or BMI go directly to you. Nobody touches it. That money is yours from day one, in full, no matter what.
Your song earns $1,000 on the publisher's share and you are the only writer. Here is the exact path that money takes.
Mechanicals, sync fees, publisher's share of performance royalties, or any other publishing income
25% covers global sync pitching through Downtown Music Publishing and administration of your catalog
What is left after the sync and admin fee gets divided evenly between Song House and the writers
Song House's half of the remaining net
Your half. Paid quarterly. Yours because you wrote the song.
Paid directly to you from ASCAP or BMI. Completely separate. 100% yours.
Great songs are often written in the room with other talented people. When you co-write, the writers' 37.5% gets divided among everyone on the song based on their share of the writing. The more writers on a song, the smaller each individual slice of the publisher's share. But here is the upside: co-writes often lead to better songs, bigger placements, and more total income. A smaller percentage of a much bigger number is still a great outcome.
No matter how many writers are on the song, the numbers above are only the publisher's share. Your writer's share from ASCAP or BMI still goes directly to you based on your percentage of the song. If you wrote a third of the song, you get a third of the writer's share. Song House never takes a penny of it.
Enter any dollar amount of publisher's share income, choose how many writers are on the song, and watch your personal take update instantly.
The number above does not include your writer's share from ASCAP or BMI. That money goes straight to you on top of everything shown here. Your total earnings from any song will always be more than what the calculator shows.
Downtown lands your song in a TV show. You co-wrote the song with one other writer (50/50). Here is how the publisher's share of a $10,000 sync fee breaks down for you.
Your co-written song gets placed through Downtown's global pitching network. Two writers on this song, split evenly.
Most independent writers never get a single sync placement on their own. When you opt in, your songs get pitched to music supervisors, ad agencies, film studios, and streaming platforms by one of the largest independent publishers in the world. One placement like this can change everything. And your writer's share from the performance on that TV show goes directly to you from your PRO on top of everything above.
Show up. Do the work. Let Song House and Downtown take your music to the world.
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