AGsoundtraxComposers
Half of everything, in daylight.
One rule runs all the money here: after the payment rail takes its processing fee, what remains is split half to you, half to the store. No tiers of loyalty points, no opaque per-stream fractions, no recoupment. This page is the entire formula, the same one our accounting runs on.
Pay-per-track licenses
A buyer licenses your track for $19, $39 or $99. The card or PayPal fee comes off the top, because it is the only cost that is truly part of that sale, and the rest is halved.
A $99 Platinum license with a $3.17 card fee pays you $47.91. You watch it land in your Royalties tab the moment the money clears, with this same arithmetic printed under the number. A refunded sale stays on the ledger, struck through, because your books should never have holes in them.
The subscription pool
Subscriptions are opening to buyers now, and the split below is the standing rule from the first dollar. Joining the pool is your choice, made once from your portal; your pay-per-track sales continue either way.
That pool then divides in two, and this is where most libraries go dark. Ours is one sentence each:
follows downloads, per subscriber
Each subscriber’s own money goes to the composers that subscriber actually downloaded. If a third of their downloads this month are yours, a third of their share is yours. One heavy account can never move everybody else’s cheque, and money from subscribers who downloaded nothing is held, not smeared across the roster.
pays for being available
Breadth is what sells a subscription, so simply standing in the catalogue earns a slice. It follows the square root of your catalogue size, so a giant catalogue cannot swallow it, and no single composer may take more than 5% of it. Uploading filler buys nothing here.
Worked through: a subscriber pays $49 for a month. After roughly $1.50 of processing fees, $23.75 belongs to composers. About $21.37 of it follows that subscriber’s downloads; if ten tracks were taken and four were yours, $8.55 of this one subscriber’s month is yours, and every other subscriber who took your tracks adds their own slice the same way.
This is the part most libraries get wrong. Subscriber C’s $8.21 is not smeared across every composer in the pool. Money follows the listening that actually happened, so nobody is paid out of a subscriber who never heard them.
Shared by the square root of each catalog’s size, with a ceiling of 5% each. The square root is why 400 tracks earns twice what 100 does rather than four times, so a huge catalog cannot swallow this part and uploading filler buys nothing. While the pool is small, the 5% ceiling binds everybody and it simply divides evenly: $2.09 each here.
Jeff had $35 rolled over from last month, so his balance reads $53.77 and he can request a payout. David’s $14.80 rolls into next month, because payouts start at $50. It is his, it simply waits.
The rules that keep it honest
- Statements freeze. When a month closes, its numbers never move again. A dispute next week becomes an adjustment in a later month, the way real accounting works. A statement you screenshot today must say the same thing in a year.
- Integer cents, nothing lost. Every division rounds in whole cents and the remainders are handed back by largest share, so the lines always sum to the pool exactly. There is no dust that quietly stays with the house.
- The ledger is live. Your Royalties tab shows every sale as it lands, with the fee and the split stated under each number. You are never waiting for a monthly PDF to know what happened.
- Payouts on your word. From a $50 balance you request a payout from your portal, paid by PayPal. Below $50 the balance simply rolls forward; it is yours and it waits.
Your music, your name
Every composer on the roster gets their own portal, a portfolio page on their own subdomain with their portrait and bio, live statistics for every play and download, and an email the moment something of theirs sells. Joining costs nothing, ever.