Questions songwriters ask us.

You pay nothing upfront — there are no minimums, subscriptions, or signup fees. Plenty of publishing admins charge $75–$100 simply to open your account; Davincii doesn't. We keep 15% of performance royalties and 20% of mechanicals, and only when we collect that money for you. No collection means no charge. Our Terms contain the complete fee schedule.

Yes, permanently. We administer the rights without ever owning them. You continue to hold 100% of your compositions.

No — most independent artists leave this gap unfilled. DistroKid, TuneCore, and CD Baby distribute earnings from your recordings. The underlying compositions — the songs themselves — generate different royalties through collection societies around the world, which distributors leave untouched. Davincii collects those funds.

Yes. Your label agreement applies to recordings, while publishing applies to the songs beneath them; the two contracts are separate. Davincii takes no stake in master recording income from past or future releases. An existing publishing deal is the actual conflict: don't submit a song committed to another publisher or administrator while their term remains active, because both parties would register the same society share. This applies per song, not across the board — you're free to register the remaining catalog.

Yes, and keep that membership as your foundation. A PRO pays the writer's share of performance royalties, which covers one stream in one capacity. Davincii works on the publisher side by registering every song with societies around the world, then collecting mechanical, digital, and international royalties that PRO membership by itself can't reach.

We collect performance royalties from your PRO and collection societies worldwide; mechanicals from each territory's mechanical rights societies; SoundExchange digital performance royalties (optional, for recordings you own); and sync fees when someone licenses your music. The world's 225+ collection societies use reciprocal agreements to extend this coverage across 240+ countries and territories.

In many cases, yes, and how far back depends entirely on which royalty it is. Mechanicals are the generous side. Once a work is registered and matched, The MLC pays retroactively for matched usage back to January 2021, and it separately still holds a pool of older unmatched money from streams going back to the beginnings of streaming in 2007, with no published deadline for claiming it. Performance royalties close much faster. Between them, ASCAP and BMI reach back up to about two years for plays from before a song was registered, and once those windows pass that money is gone. Nothing about that is unusual, but it is the reason we file the moment your catalog is ready rather than waiting. Davincii Radar estimates what is still sitting there for your catalog.

Every month. We credit your balance each month with everything that reached us that month, and you withdraw whenever you want through the dashboard once the balance passes $25, by bank transfer (ACH) or PayPal. Two things shape the timing. Mechanical royalties are reported and paid to us monthly, running roughly two to three months behind the month your music was played, so those land every month. Performance royalties come from societies that account four times a year and run six to nine months behind the quarter the performance happened in, so that money joins your balance quarterly rather than monthly. Your first payment is the slow one. The MLC issues each month's royalties about 75 days after that month ends, so roughly two and a half to three months pass before the first mechanical money reaches us at all — and that first run also carries whatever back royalties your catalog is owed, which is why it is usually much larger than the months that follow it. After that it settles into a monthly rhythm. Performance royalties then join it four times a year on their own schedule. How far back we can reach varies by organisation, and the performance side closes much faster than the mechanical side, which is why we file the moment your catalog is ready.

Yes. There are no penalties or lock-in; just provide 30 days' written notice. Email info@davincii.co using your account email, and we'll acknowledge it. When you switch administrators, we'll transfer or release society registrations within 30 days after your instruction, including any letter-of-relinquishment documents required by the new publisher. For 12 months following the agreement's end, we continue collecting royalties earned during your term. Within 60 days after that period closes, you'll get the final statement and full balance due.

After signup, add each song through your dashboard in moments, frequently just seconds. We check every detail and file the work with the proper performance and mechanical societies across all paying territories. Your dashboard follows each submission — clearly showing completed, pending, and outstanding registrations. For priority artists in the invitation-only Blueprint tier, we identify and assemble the whole catalog.

Yes. Performance and mechanical societies around the world generate song royalties beyond the US, and your location doesn't limit where we register or collect.

We work straight with the society to amend its current registration. Submitting another copy instead would create the very conflicts and delays we're avoiding.

You and the other writers must settle it. We have no control over somebody else's share, so we register only the splits you've confirmed as correct. After agreement, we'll file the split and update its registration whenever it changes.

Yes, with your explicit written permission required beforehand. When the placement comes from you or your team, Davincii charges 20% to administer and collect it. When we find and pitch the opportunity for you, the rate is 35%. No license is granted until you approve it.

US taxpayers submit a standard W-9; everyone else uses a W-8BEN. You'll complete it once in the dashboard before withdrawing for the first time, allowing us to report earnings and pay you correctly. Any US business processing royalty payments asks for the same forms.

Traffic travels under encryption (HTTPS/TLS), passwords stay hashed instead of being saved in plaintext, and only authorized personnel with signed confidentiality obligations may access production data.

No minimum. From one song to a thousand — every release deserves full registration and a chance to earn.