Describe it once and see exactly who would take it, what they have worked on, and what it would cost, before you pay anybody. The splits are agreed and signed before a session starts, so the record still earns for everybody who made it in twenty years’ time.
Free to start, and you fund nothing until you have seen who is interested and agreed the terms.
People you could work with, and every credit is checkable
The problem
Splits get agreed in a room and disputed two years later. A producer takes a flat fee and loses the twenty-year earnings, because a fee is not a share and nothing recorded what they made. Royalties arrive from a society against a name that does not match, so the money sits in a pool nobody claims.
And a label doing due diligence cannot confirm any of it, so the deal is priced for that risk, which the artist ends up paying for.
None of that is a technology problem. It is a paperwork problem that everyone has agreed to tolerate, and it costs the people who made the music the most.
The same record, three people at the table, three completely different things going wrong.
What happens now
You pay a producer, the song does well, and eighteen months later somebody you barely remember from the session says they wrote the hook. Nobody wrote anything down, so it is your word against theirs, and the money sits frozen while it is argued about.
What happens here
Everybody who touched the record signs what they did before a session starts. When the song works, the argument has already been had.
How it works
A rough phone recording and six short answers is a project pack. That is what a producer receives instead of a chat history, and it is why the work comes back closer to what you wanted.
A rough phone recording and six short answers, the key, the structure, two references, where the boundaries are. It takes minutes and it is the difference between a producer guessing and a producer knowing.
Real people with credits you can check, not a bidding pile. You see the price before you commit, and being matched obliges neither side to anything.
Who did what and who gets what, agreed while it is still easy to agree. No stems, no session files and no payment release until every named contributor has signed.
The credit is sealed on delivery into a record that cannot be edited afterwards, so when the song works, the argument has already been had.
Where the money goes
What the platforms paid, what the label kept, what recouped, and what reached each person on the sheet. Most artists have never seen that chain for their own record, which is how a rate of twenty percent turns into nothing arriving and nobody can say exactly where it went.
A worked example on 900,000 streams
Per-stream rates are estimates and are labelled as such wherever they appear. Once your own statements arrive, the figures come from those instead.
Describe it once, agree the splits, and everything after that is already written down.