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Audiam Brings Its Portal for Hunting Unclaimed Royalties to Writer, Publisher Clients

Audiam, the digital reproduction rights collection agency, is bringing the technology that it uses to track down unclaimed money of copyright owners to its client portal so that artists, songwriters…

Audiam, the digital reproduction rights collection agency, is bringing the technology that it uses to track down unclaimed money of copyright owners to its client portal so that artists, songwriters, publishers and labels can see detailed reports on every version of a song at every service, even covers that songwriters and publishers might not know existed.

“How can a music publisher expect to collect all of their money if they don’t have a list of all the things making it for them?” asks Audiam CEO and co-founder Jeff Price, who says Audiam clients can find out about those recordings and collect even more found money through Audiam services, while viewing the firm’s effort on behalf of its clients through its recently launched income-tracking system, dubbed Layla

“The Layla system sifts through mountains of data to help find all the recordings and YouTube videos of a song, tracks the uses, collects the money and identifies what is and is not being paid on,” Price said in a statement “The end result is more money going into the pockets of the songwriters and publishers.”

Price claims that even after Audiam deducts its administration fee, the company usually grows a new client’s revenue by 35 to 40 percent. Audiam clients include Round Hill Music, Third Side Music, Creeping Death Music , Rough Trade Publishing and Sony/ATV Music Publishing, among others.

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For each Audiam songwriter/publishing client, when they sign onto Layla, the portal shows revenue by the top earning compositions down to the lowest; and then by clicking though, the user can itemize the revenue for each song by the digital service, and further break that down by territory. Moreover, it separates the revenue by mechanical versus audio-visual YouTube income.

Audiam, which got its start by mining YouTube to find incremental royalties revenue for its clients, breaks down revenue from that account, distinguishing the monies from the advertising tier versus the funds from the subscription RED services; and then further breaks out income by country.

But then, Layla further shows revenues for all the different videos that contains the songwriters music for each and every video that contains that song; and further allows clients click to watch each of those videos.

Moreover, Audiam specializes in finding cover versions of a songwriter’s songs, especially ones that the writer or their publisher might not know exists. So within the portal, songwriter or publishers can click on a box that will show all the recordings of that song, how much each version of the song made; and then further see a list of revenue by service for that song.

“You can listen to the recording you didn’t even know existed and are now getting paid on; and now you can track that composition for the future,” says Price while also pointing out that when Audiam finds new recordings of its songwriters composition, the company also begins the process of recovering royalties for past plays of that recording. 

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The above is all accessible from just the first tab that a user will see when they sign on, Price says.

Diving deeper into the system, Audiam clients can see how much revenue their songs received from each service, ranked from the most revenue on down; and the per stream rate that the user is enjoying form each digital service.

Finding recordings of a client’s songs that they weren’t aware of is a key component of the service. “We really want to focus on providing music publishers with a tool so they can see all the children of a composition,” Price reiterates. “How do you collect on that revenue, if you don’t know what is out there.”

In order to find all revenue, Price says that when Audiam lands a new client, “we scrub the hell out of their data to make sure they have the right composition name and publishers and then we go out into the world to look for all, every version, of the sound recordings of that songwriter’s compositions. For example, when we first got the Bob Dylan catalog, we found 704 commercially released versions of ‘All Along the Watchtower’ from different artists spread across all digital services, but we were only getting paid on eight of these records.”

Or if a song has 3,599 different YouTube videos featuring the same song, Audiam tracks down and monetizes each video so that it can collect royalty revenue from all of them, whether it’s finding a songwriter’s music or an artist’s recording being used in a video; or all the recordings of a song. Once everything’s been identified, then Audiam goes and fixes those problems by giving the services the correct metadata, which allows them to recover the back revenue.”

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Audiam also repurposes the data from working in the U.S. for finding revenue in Canada where the royalty paying system is different. There, the services give all their usage log data to the three mechanical collection agencies, including Audiam, and then it’s the agencies job to find every recording that has a composition that each agency represents; and then the agency invoices the service. In order to do that, “you have to know what your composition’s children are,” Price says.

After insuring payment on all “children,” Audiam, through Layla, makes the data available to its clients in “a bitesize, understandable way,” Price says adding in a statement that Layla “removes guesswork, simplifies administration, recovers earned but unpaid royalties and ensures publishers and songwriters get paid quickly and efficiently for every fraction of a penny earned.”