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kknaught about 3 hours ago 21 commentsRead Article on pub.doub.ly

FR version is available. Content is displayed in original English for accuracy.

Hi HN, I built this. Quick background on why it exists:

When music is streamed on digital streaming platforms (think Spotify, Apple Music, Pandora), there are two separate royalty streams: one for the recording, paid through your distributor (DistroKid, TuneCore, CDBaby), and one for the underlying work (generally known as publishing). The work side's mechanical royalties are collected by The MLC, a nonprofit that was created by the 2018 Music Modernization Act (MMA). If you haven't registered your songs with The MLC, there are issues with your metadata, or about half a dozen other reasons, that money will never reach you, it just collects in a big pile we call the "black box".

That pile is big. The MLC's own dashboard currently shows over $656M is held (themlc.com/blanket-royalties), and the biggest problem is the MMA dictates that The MLC cannot hold that money indefinitely. At some point, by law, The MLC must distribute this big pile of cash, and since they don't know who it's supposed to go to, they pay it out through a process called "market share" (themlc.com/marketshare). Market share means they pay it out, pro-rata, to the artists, songwriters and publishers that are in the system, which in practice means the largest publishers collect most of the leftovers.

This is slated to begin in January 2027 and will pay portions of the pool out monthly (themlc.com/unclaimed-accrued-royalties), as of this morning, the next 12 months of market share sums up to $76.61M, starting with $6.41M in January.

Full disclosure: I run Doubly, which is an independent publishing administrator, so I have a commercial interest in this space. That being said, we're a team of two people and we don't have the bandwidth to directly assist the hundreds of thousands of artists and songwriters who are going to start losing this money in January 2027.

That's why I built this self-service tool, no signup, no email, no paywall, the reports are completely actionable without needing anything from us.

The tool: paste a Spotify artist link (or search for a Spotify artist by name). It pulls every release on that profile, checks each recording against The MLC's public bulk data, and tells you per-song whether it's fully claimed, partially claimed, registered but unmatched, or missing entirely. It then provides a link to the exact MLC tool that fixes each case. It also estimates the dollars stuck, as a rough range.

Even if you're not an artist yourself, you probably know someone who is a musician, please share it with them.

Thanks for your time and I'm happy to answer any questions about the industry as a whole, The MLC, the tech, anything really.

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Discussion (21 Comments)Read Original on HackerNews

addajones•about 1 hour ago
Spotify is rate limited so its very difficult to check now. Happy you built it, hopefully we will be able to use it soon to check our catalog.
knaught•about 1 hour ago
Thanks for letting me know, I'm checking the logs now.
addajones•42 minutes ago
appreciate it! I don't want to bombard the system you set up, but very eager to check as I'm sure there could be income not collected and missing.
knaught•14 minutes ago
Appreciate it, we blew through 250K tracks in an hour, the HN hug is real. We have added more capacity.
codersfocus•14 minutes ago
How can music be on steaming platforms if the owner who should collect this doesn't consent to it? If it's their label posting it, shouldn't the label be handling renumeration?

Or is this for music distributed by DistroKid, CDBaby etc. before 2018?

knaught•8 minutes ago
Music is broken down into two copyrights: Masters and Publishing.

Masters is the recording themselves, made by recording artists, distributed by record labels and distributors (DistoKid, TuneCore, CD Baby, etc.)

Publishing is the "work" or the song... made by songwriters, and royalties are processed by Music Publishers and PROs (ASCAP, BMI, SESAC).

A good way to wrap your head around it is... I can record a cover of Katy Perry's Firework... I can distribute that master (and make money) to DSPs like Spotify etc... but I do not own the "song" Firework.

The Mechanical Licensing Collective (the MLC) is the body that governs US digital streaming mechanical royalties, which is a right on the publishing side.

quickdeer•about 2 hours ago
I tried running an artist through who is a friend, with a few grand found. Will forward the link to her. Is this Spotify only? Thank you.
knaught•about 2 hours ago
Amazing! The only stream count we can find that is publicly available is Spotify, so we use it as a reference point in our calculation, and it's why we give a range. If they have heavy plays on a different streaming platform like Apple, we don't have a good way of finding that number.

The estimate range is our best guess for money specifically in the MLC, which is for US digital streaming mechanicals for all DSPs (Spotify, Apple, Pandora, YouTube, Amazon, etc.)

subract•about 1 hour ago
A note: nowhere in your post or the site (except the footer) is the “MLC” acronym expanded. I certainly didn’t know what it was before now.
knaught•about 1 hour ago
Excellent point, I'll fix that.
elias_t•27 minutes ago
Wow thanks for this! Right now it’s rate limited, could we pass you the metadata directly maybe? To not burn your ip with their servers
knaught•13 minutes ago
We just added more capacity, and are adding even more here in a bit.
needSomeCoffee•about 1 hour ago
This is really interesting. Thanks for doing this. Checked one of my favorite artists who I would think is a very minor player in all this, and who is pretty original (Keb' Mo'). If I am reading the results right, he has $7,059 – $16,345 at risk. Wow. I hope this is widely used by the artists to understand the situation. Again, great work imho (I know virtually nothing about the music industry).
knaught•about 1 hour ago
When the Music Modernization Act passed in 2018... all US digital streaming mechanical royalties we're just held until the MLC was operational in 2021. So this is money owed from 2018 through 2026, it adds up.
orsorna•about 2 hours ago
Not really any indication that you are collecting data for your own usage. No source code at least?

On that note, would it really be hard to use my own deployment of your app to check against the datasources your deployment uses?

knaught•about 2 hours ago
The code behind this is a whole AWS stack built as part of our larger infrastructure. It's not just a simple script, it's a full data pipeline. The MLC data is ~400GB of raw TSV data dropped on an FTP server every week, which we then process, index, make available internally for our tools. The Blackbox site is a frontend that leverages this infrastructure.

That being said, everything we use here, the MLC Bulk Data feed and the Spotify API are publicly available.

https://www.themlc.com/bulk-database-feed ($100 sign up fee and $25/mo)

iamacyborg•about 2 hours ago
Cool, so not only do Spotify pay big record labels/artists more than smaller artists (because if I listen exclusively to artist X, my subscription money is paid across all streams globally on the platform, not just the artist I actually listened to) but then it double dips and those artists could be getting fucked over twice.

Wow, streaming is great.

knaught•about 2 hours ago
I agree with you that pro-rata streaming royalties are not ideal. DSPs like Deezer do have 'artist centric' royalty systems, which I think are great.

That being said, the MLC has been holding this money for 6 years, and by law (The Music Modernization Act 2018), they can't hold it forever, so they have to disperse it somehow. So the best thing for artists to do here is go register their songs so they get their money.

doctorpangloss•about 1 hour ago
Seems too good to be true (because it is).
knaught•about 1 hour ago
I bet you're a blast at parties. Everything about this is publicly verifiable.
ljlolel•about 1 hour ago
it’s true (ran a music company)