# SNVRKOTICS Wiki — full text Source: https://wiki.snvrkotics.com · Updated: 2026-10-02 · License: CC BY 4.0 (https://creativecommons.org/licenses/by/4.0/) # 3.3% Also known as: 3.3Percent, 3.3% (feat. Martin Shkreli) > "3.3%" is a song by the American experimental artist SNVRK and the second track on his debut album SNVRKOLEPSY, released through SNVRKOTICS on June 5, 2026. It is released as "3.3% (feat. Martin Shkreli)", but according to SNVRK the former pharmaceutical executive does not appear on the recording: the credit is symbolic. Produced by Godzay and SNVRK, it runs 3:30. Source: https://wiki.snvrkotics.com/3-3-percent · Category: SNVRK Wiki · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Album:** [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy) - **Released:** June 5, 2026 - **Track:** 2 of 11 - **Length:** 3:30 - **Label:** [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics) - **Producers:** Godzay, SNVRK ## Background "3.3%" follows ["33 HRS"](https://wiki.snvrkotics.com/33-hrs) on *[SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy)* and turns the album toward money and leverage. Its title credit to Martin Shkreli appears on the release;[1] SNVRK has described Shkreli's part as "purely cultural" — a symbol of notoriety and financial disruption — and says he does not perform on the track.[2] ## Composition Produced by Godzay and SNVRK, the song is starker than the album's opener, built on distorted guitar and fragments of crowd chatter. According to its credits on the SNVRK Wiki, the vocal was recorded through Slate Digital's Virtual Microphone System for a dry, "boardroom" tone.[2] ## Credits and personnel - [SNVRK](https://wiki.snvrkotics.com/snvrk) — vocals, production, mixing, mastering, executive production - Godzay — production - Martin Shkreli — title credit - [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics) — creative direction ## Questions ### Is Martin Shkreli on "3.3%"? He is credited in the title, but according to SNVRK he does not appear on the recording; the credit is symbolic. ### What album is "3.3%" on? SNVRKOLEPSY (2026), as track two. ## References 1. Spotify. "SNVRKOLEPSY — Album by SNVRK." https://open.spotify.com/album/0DxNw7GvwrYmoRsHgPpchr 2. SNVRK Wiki on Fandom (self-published by the subject). "3.3Percent (song)." https://snvrk.fandom.com/wiki/3.3Percent_(song) ## Related - [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy): SNVRKOLEPSY is the 11-track debut studio album by SNVRK, released through SNVRKOTICS on June 5, 2026. - [33 HRS](https://wiki.snvrkotics.com/33-hrs): "33 HRS" is a song by SNVRK with Funk Flex, the lead single and opening track of the 2026 album SNVRKOLEPSY. - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. --- Cite as: "3.3%." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/3-3-percent --- # 33 HRS Also known as: 33 HRS (song), 33 Hours > "33 HRS" is a song by the American experimental artist SNVRK with the DJ and producer Funk Flex, released on March 20, 2026 through SNVRKOTICS as the lead single from the album SNVRKOLEPSY, which it opens. Written by SNVRK and produced by Godzay, it runs 2:10, and its music video was filmed on Pier 5 in Brooklyn. Source: https://wiki.snvrkotics.com/33-hrs · Category: SNVRK Wiki · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Album:** [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy) - **Released:** March 20, 2026 - **Length:** 2:10 - **Label:** [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics) - **Songwriter:** [SNVRK](https://wiki.snvrkotics.com/snvrk) - **Producer:** Godzay - **Director:** SNVRK - **Filmed:** August 2025, Pier 5, Brooklyn - **Watch:** [YouTube](https://www.youtube.com/watch?v=xUlTCOLSuKc) ## Background and release After announcing *[SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy)* in January 2026, SNVRK teased a collaboration with Funk Flex, the New York DJ, as a meeting of the city's hip hop establishment and his own "industrial-scientist" sound.[1] The single was released on March 20, 2026, and became the album's opening track on June 5; the release credits the track "with Funk Flex".[2] SNVRK performed the song live at 99 Scott in Brooklyn on December 29, 2025, before its release.[3] The day after the album came out, the [NYC Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm) placed tickets that referenced the song across Brooklyn, tying the physical stunt to the track online.[1] ## Composition Produced by Godzay, the track follows the album's workflow — Logic Pro 11 and the Slate Digital FG-X2 mastering processor — toward a deliberately loud, dense mix. SNVRK has said the title belongs to his own "33" numerology rather than to any outside event.[1] ## Music video The video, directed by SNVRK and produced by Ridge, was filmed on Pier 5 in Brooklyn in August 2025 and released with the single. SNVRK appears in hi-vis utility gear, an orange ushanka and a safety vest, and the video closes in on the mock parking tickets that became the Ticketstorm.[1] ## Track listing **Digital single** — released March 20, 2026 by SNVRKOTICS; photography by Ridge. | No. | Title | Length | | --- | --- | --- | | 1 | "33 HRS" (with Funk Flex) | 2:10 | | 2 | "33 HRS" (instrumental) | 2:10 | ## Questions ### Who is featured on "33 HRS"? Funk Flex; the release credits the track "with Funk Flex". ### When was "33 HRS" released? March 20, 2026, as the lead single from SNVRKOLEPSY. ### Who produced "33 HRS"? Godzay. ## References 1. SNVRK Wiki on Fandom (self-published by the subject). "33 HRS (song)." https://snvrk.fandom.com/wiki/33_HRS_(song) 2. Spotify. "SNVRKOLEPSY — Album by SNVRK." https://open.spotify.com/album/0DxNw7GvwrYmoRsHgPpchr 3. setlist.fm. "99 Scott, Brooklyn, NY, USA — concert setlists." https://www.setlist.fm/venue/99-scott-brooklyn-ny-usa-13dfbd25.html ## Related - [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy): SNVRKOLEPSY is the 11-track debut studio album by SNVRK, released through SNVRKOTICS on June 5, 2026. - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. - [3.3%](https://wiki.snvrkotics.com/3-3-percent): "3.3%" is the second track on SNVRK's 2026 album SNVRKOLEPSY, released with a title credit to Martin Shkreli. - [NYC Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm): The NYC Ticketstorm was SNVRK's June 6, 2026 stunt: mock parking-ticket envelopes on parked cars in Brooklyn, promoting SNVRKOLEPSY. --- Cite as: "33 HRS." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/33-hrs --- # AWGE > AWGE is an American creative agency, online store and record label founded in 2014 by the rapper A$AP Rocky, working across music, visual direction, fashion and merchandise. Its founder has declined to say what the name stands for. SNVRKOTICS lists AWGE as a backer of its label division, a relationship it states on its founder's confirmation. Source: https://wiki.snvrkotics.com/awge · Category: SNVRK Wiki · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Founder:** A$AP Rocky - **Founded:** 2014 - **Type:** Creative agency, online store, record label - **Website:** [awge.com](https://awge.com) - **SNVRKOTICS:** [Backer of the label division (per SNVRKOTICS)](https://wiki.snvrkotics.com/snvrkotics) ## Overview AWGE was founded by A$AP Rocky as a creative extension of the A$AP Mob collective, giving its artists control over music releases, visual direction, merchandise and branding. It has released music, directed videos under an "AWGE" credit, and run an online store.[1][2] What the name stands for has never been officially explained; Rocky has repeatedly declined to say.[2] ## Relationship with SNVRKOTICS [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics), the company founded by [SNVRK](https://wiki.snvrkotics.com/snvrk), lists AWGE on its partners page as a backer of its label division. SNVRKOTICS states the relationship on its founder's confirmation; AWGE has not announced it.[3] ## Questions ### Who founded AWGE? A$AP Rocky, in 2014. ### What does AWGE stand for? It has never been officially explained; A$AP Rocky has declined to say. ### What is AWGE's relationship to SNVRKOTICS? SNVRKOTICS lists AWGE as a backer of its label division, on its founder's confirmation. ## References 1. AWGE. "AWGE." https://awge.com 2. Highsnobiety. "What Is AWGE, the A$AP Mob's Mysterious Creative Collective?." https://www.highsnobiety.com/p/what-is-awge-asap-mob/ 3. SNVRKOTICS. "SNVRKOTICS partners." https://snvrkotics.com/partners ## Related - [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics): SNVRKOTICS is a rights and royalty platform for independent music: catalog, split sheets, distributor statements and release links. - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. --- Cite as: "AWGE." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/awge --- # DDEX Also known as: Digital Data Exchange, DDEX ERN > DDEX (Digital Data Exchange) is a not-for-profit standards organization, formed in 2006, that defines the message formats music companies use to exchange data in the digital supply chain. Its best-known standard is the Electronic Release Notification (ERN), the XML format in which labels and distributors deliver releases and their metadata to streaming services and stores. Source: https://wiki.snvrkotics.com/ddex · Category: Law and standards · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Type:** Not-for-profit standards organization - **Formed:** 2006 - **Best-known standard:** ERN (Electronic Release Notification) - **Other standards:** DSR (sales reporting), RIN (recording information), MEAD - **Website:** [ddex.net](https://ddex.net/) ## Purpose Labels, distributors, streaming services, collecting societies and publishers all exchange the same kinds of information — what a release contains, who made it, where it may be sold, and how much it was used. DDEX standardizes those messages so each company implements one format rather than a different one for every partner.[1] ## Principal standards - **ERN — Electronic Release Notification.** Describes a release, its tracks with their [ISRCs](https://wiki.snvrkotics.com/isrc), contributors, artwork, territories, deal terms and dates, and delivers it to a store. - **DSR — Digital Sales Reporting.** The format in which services report usage and revenue back up the chain, the raw material of every [royalty statement](https://wiki.snvrkotics.com/music-royalties). - **RIN — Recording Information Notification.** Captures studio-session data — who played, sang, produced and engineered — at the point of creation. - **MEAD — Media Enrichment and Description.** Carries descriptive data such as moods, lyrics and focus tracks for discovery. Messages are expressed in XML, and identify parties and works by standard identifiers such as [ISRC](https://wiki.snvrkotics.com/isrc), [ISWC](https://wiki.snvrkotics.com/iswc) and [ISNI](https://wiki.snvrkotics.com/isni).[1] ## In practice Most artists never see a DDEX message: their [distributor](https://wiki.snvrkotics.com/music-distributor) produces the ERN from the form they fill in, and receives DSR reports in return. Problems at that step — a missing contributor role, a mistyped ISRC, the wrong release date — propagate to every store the release is sent to. ## In practice at SNVRKOTICS SNVRKOTICS can generate a DDEX ERN 4.3 message from a release in the catalog, so the metadata recorded once is the metadata delivered. ## Questions ### What is a DDEX ERN? An Electronic Release Notification: the XML message a label or distributor sends to a store to deliver a release, its tracks, metadata, artwork and commercial terms. ### Do I need to understand DDEX to release music? Not usually. Distributors generate DDEX messages on the artist's behalf. It matters to anyone building or auditing a supply chain. ## References 1. DDEX. "DDEX — Digital Data Exchange." https://ddex.net/ ## Related - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. - [International Standard Name Identifier](https://wiki.snvrkotics.com/isni): The ISNI is a 16-digit ISO 27729 identifier for the public identity of a person or organization that contributes to creative works. - [Music distributor](https://wiki.snvrkotics.com/music-distributor): A music distributor delivers releases to streaming services and stores and passes the resulting master income back to the rights owner. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. --- Cite as: "DDEX." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/ddex --- # Gottfried v. Night Media, Inc. et al. Also known as: Gottfried v. Night Media, 1:26-cv-05471 > Gottfried v. Night Media, Inc. et al. is a civil lawsuit filed on June 26, 2026 in the U.S. District Court for the Southern District of New York by Caleb Gottfried, who records as SNVRK, against Night Media, Inc. and Kai Cenat LLC. The complaint alleges premises liability and misuse of his likeness at the June 2026 Streamer University auditions and seeks over $330,000. The allegations have not been decided. Source: https://wiki.snvrkotics.com/gottfried-v-night-media · Category: SNVRK Wiki · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Full name:** Caleb Gottfried v. Night Media, Inc., Kai Cenat LLC - **Court:** U.S. District Court for the Southern District of New York - **Docket:** 1:26-cv-05471 - **Filed:** June 26, 2026 - **Judge:** Dale E. Ho - **Magistrate judge:** Robert W. Lehrburger - **Status:** Pending - **Causes of action:** Premises liability; N.Y. Civil Rights Law §§ 50–51 - **Damages sought:** Over $330,000 - **Plaintiff:** [Caleb Gottfried (SNVRK), pro se](https://wiki.snvrkotics.com/snvrk) ## Background The case arises from the in-person auditions for the second season of Streamer University, the creator program run by live-streamer Kai Cenat, held on June 12, 2026 at John Jay College of Criminal Justice in Manhattan. Gottfried was among the large crowd that attended.[1] The complaint alleges that overcrowding, poor ventilation and a lack of crowd control caused him two near-heatstroke episodes, and that organizers filmed him without permission and used the footage of him as unpaid "background talent" in promotional content.[2][3] These are allegations; the defendants have not been found liable for anything. ## Proceedings Gottfried filed the complaint on June 26, 2026, without counsel, under docket number 1:26-cv-05471. He was granted leave to proceed *in forma pauperis* — without paying the filing fee — by Chief Judge Laura Taylor Swain; that grant addresses ability to pay, not the merits. The case was assigned to District Judge Dale E. Ho, with general pretrial matters referred to Magistrate Judge Robert W. Lehrburger.[1] The complaint pleads premises liability and violations of New York Civil Rights Law §§ 50 and 51, which restrict the use of a person's name or likeness for trade without consent, and seeks over $330,000 in damages.[3] As of this article's review date the case had not been decided. ## Coverage The suit was reported by theJasmineBRAND on July 18, 2026 and by TMZ on July 19, 2026, and syndicated by Yahoo.[4][2][3] SNVRKOTICS's newsroom, which is the plaintiff's own company, keeps live coverage of the case.[1] SNVRK cited the litigation when he cancelled a press conference planned for July 19 at New York City Hall. ## Questions ### Who is suing Kai Cenat's company? Caleb Gottfried, the musician SNVRK, filed Gottfried v. Night Media, Inc. et al. against Night Media and Kai Cenat LLC on June 26, 2026. ### What is the docket number? 1:26-cv-05471, in the Southern District of New York. ### What does the lawsuit claim? It alleges premises liability over crowd conditions at the June 2026 Streamer University auditions and unauthorized use of the plaintiff's likeness under New York Civil Rights Law §§ 50–51. ### Has the case been decided? No. The allegations have not been tested, and no defendant has been found liable. ## References 1. SNVRKOTICS Newsroom (the plaintiff's company). "Gottfried v. Night Media: live updates from the SDNY case." https://snvrkotics.com/newsroom/live/gottfried-v-night-media 2. TMZ, July 19, 2026. "Kai Cenat Sued By Man Claiming He Suffered Near Heatstroke at Streamer University Event." https://www.tmz.com/2026/07/19/kai-cenat-sued-over-streamer-university-event/ 3. Yahoo. "Kai Cenat's Company Faces $330,000 Lawsuit Over Streamer University Audition." https://www.yahoo.com/entertainment/celebrity/articles/kai-cenat-company-faces-330-230726458.html 4. theJasmineBRAND, July 18, 2026. "Kai Cenat's Streamer University Sued For $330K After Attendee Claims He Was Used As Unpaid 'Background Talent' At Packed Auditions." https://thejasminebrand.com/2026/07/18/kai-cenats-streamer-university-sued-for-330k-after-attendee-claims-he-was-used-as-unpaid-background-talent-at-packed-auditions/ ## Related - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. - [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics): SNVRKOTICS is a rights and royalty platform for independent music: catalog, split sheets, distributor statements and release links. - [NYC Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm): The NYC Ticketstorm was SNVRK's June 6, 2026 stunt: mock parking-ticket envelopes on parked cars in Brooklyn, promoting SNVRKOLEPSY. --- Cite as: "Gottfried v. Night Media, Inc. et al.." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/gottfried-v-night-media --- # International Standard Musical Work Code Also known as: ISWC > An International Standard Musical Work Code (ISWC) is the ISO 15707 identifier for a musical work: the composition, meaning its melody and any lyrics, independent of any recording. It is written as the letter T, nine digits and a check digit, for example T-123.456.789-C, and is usually assigned by a performing rights organization when the work is registered. Source: https://wiki.snvrkotics.com/iswc · Category: Identifiers · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Standard:** ISO 15707 - **Format:** T, nine digits, one check digit - **Identifies:** A musical work (composition) - **International agency:** [CISAC](https://www.cisac.org/) - **Usually assigned by:** [Performing rights organizations](https://wiki.snvrkotics.com/performing-rights-organization) - **Recording counterpart:** [ISRC](https://wiki.snvrkotics.com/isrc) ## A work, not a recording Music copyright distinguishes two things: the **musical work** written by songwriters and controlled by [publishers](https://wiki.snvrkotics.com/music-publishing), and the **sound recording** of a performance of it, the [master](https://wiki.snvrkotics.com/master-recording). The ISWC identifies the first; the [ISRC](https://wiki.snvrkotics.com/isrc) identifies the second. A song covered by ten artists has one ISWC and at least ten ISRCs. ## Format An ISWC is the prefix letter **T** followed by a nine-digit work identifier and a single check digit, conventionally displayed as `T-123.456.789-C`. The dots and hyphens are for display only. The code carries no meaning beyond identity: it does not encode a country, a publisher or a year.[1] ## How an ISWC is assigned The ISWC system is coordinated by CISAC, the International Confederation of Societies of Authors and Composers, through local agencies — in most countries the [performing rights organizations](https://wiki.snvrkotics.com/performing-rights-organization).[1][2] A code is usually issued when a work is first registered with a society, together with its writers, their shares and their interested-party identifiers. A work registered twice with conflicting writer shares is a common reason for a delayed ISWC, and for delayed royalties. ## In practice at SNVRKOTICS In SNVRKOTICS a work and its recordings are separate records: the work carries the ISWC and the publishing split, each recording carries its own ISRC and master split, and the two are linked. ## Questions ### Do I need an ISWC to release a song? No store requires one to accept a release, but publishing royalties are matched more reliably when the work has one, so registering the composition with a performing rights organization soon after release is good practice. ### What is the difference between an ISWC and an ISRC? An ISWC identifies a composition; an ISRC identifies a specific recording of it. One ISWC can be linked to many ISRCs. ### Who gives out ISWCs? Local ISWC agencies coordinated by CISAC — in practice usually the songwriter's performing rights organization, when the work is registered. ## References 1. CISAC. "ISWC International Agency." https://www.iswc.org/ 2. CISAC. "International Confederation of Societies of Authors and Composers." https://www.cisac.org/ ## Related - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. - [Music publishing](https://wiki.snvrkotics.com/music-publishing): Music publishing is the business of owning or administering song copyrights: registering works, licensing them and collecting songwriters' royalties. - [Performing rights organization](https://wiki.snvrkotics.com/performing-rights-organization): A performing rights organization licenses the public performance of songs and pays the royalties to their songwriters and publishers. - [Split sheet](https://wiki.snvrkotics.com/split-sheet): A split sheet is a signed record of who owns what percentage of a song or recording, agreed by every contributor and totaling 100%. --- Cite as: "International Standard Musical Work Code." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/iswc --- # International Standard Name Identifier Also known as: ISNI > An International Standard Name Identifier (ISNI) is a 16-character identifier, defined by ISO 27729 and published in 2012, for the public identity of a person or organization involved in creative works — a songwriter, a performer, a pseudonym or a label. It tells two people with the same name apart, and ties one person's several names together. Source: https://wiki.snvrkotics.com/isni · Category: Identifiers · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Standard:** ISO 27729 (published 2012) - **Length:** 16 characters; the last may be X - **Identifies:** Public identities of people and organizations - **Display form:** Four groups of four, e.g. 0000 0001 2345 6789 - **Registry:** [ISNI International Agency](https://isni.org/) ## What an ISNI identifies An ISNI identifies a **public identity** rather than a legal person. A songwriter who also records under a stage name can hold one ISNI per name, linked to one another; two unrelated artists who share a name hold two different ISNIs. The identifier is used across books, music, film and research, which is what makes it useful as a bridge between catalogs that otherwise share no keys.[1] ## Format An ISNI is fifteen digits followed by a check character, which is a digit or the letter X. It is displayed in four groups of four (`0000 0001 2345 6789`) and resolved as sixteen unspaced characters, e.g. `https://isni.org/isni/0000000123456789`. Confusing the two forms is a common reason a published ISNI link fails to resolve.[1] ## Use in the music industry Music metadata standards from [DDEX](https://wiki.snvrkotics.com/ddex) carry ISNIs for contributors, and many registration agencies issue them to artists on request. Paired with the [ISRC](https://wiki.snvrkotics.com/isrc) of each recording and the [ISWC](https://wiki.snvrkotics.com/iswc) of each work, an ISNI lets a catalog say unambiguously *who* made *what*. Knowledge graphs also use it as an authority record: linking a person's profile to their ISNI is a stronger identity signal than any display name. ## In practice at SNVRKOTICS The founder of SNVRKOTICS is identified by ISNI 0000 0005 2449 3943, and the company's structured data links the founder's Person node to that authority record rather than to any social profile. ## Questions ### Is an ISNI the same as an IPI number? No. An IPI (Interested Parties Information) number is assigned within the collecting-society system to identify rights holders for royalty purposes; an ISNI is a cross-industry identifier for a public identity. Many writers have both. ### Can one person have more than one ISNI? Yes, one per public identity. A writer who publishes under a real name and a pseudonym can have an ISNI for each, linked in the registry. ### Why does my ISNI link not work? Most often because the spaces were left in. The URL form uses the sixteen characters with no spaces. ## References 1. ISNI International Agency. "ISNI — International Standard Name Identifier." https://isni.org/ ## Related - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. - [International Standard Musical Work Code](https://wiki.snvrkotics.com/iswc): The ISWC is an ISO 15707 identifier for a musical work — the composition itself, independent of any recording of it. - [DDEX](https://wiki.snvrkotics.com/ddex): DDEX is the music industry's standards body for the data exchanged in the digital supply chain, best known for the ERN release-delivery format. --- Cite as: "International Standard Name Identifier." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/isni --- # International Standard Recording Code Also known as: ISRC > An International Standard Recording Code (ISRC) is a 12-character identifier, defined by ISO 3901, assigned to a single sound recording or music video recording. It identifies the recording rather than the song: a remix, a live take or a re-recording gets its own ISRC, while the same recording keeps its code wherever and however often it is released. Source: https://wiki.snvrkotics.com/isrc · Category: Identifiers · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Standard:** ISO 3901 - **Length:** 12 alphanumeric characters - **Identifies:** A sound recording or music video recording - **International agency:** [IFPI](https://isrc.ifpi.org/) - **US agency:** [RIAA (US ISRC Agency)](https://www.usisrc.org/) - **Composition counterpart:** [ISWC](https://wiki.snvrkotics.com/iswc) ## Structure An ISRC has four parts, usually written without separators in metadata and with hyphens when shown to people: | Part | Length | Meaning | | --- | --- | --- | | Country or agency prefix | 2 characters | Allocated to the national agency that issued the registrant code | | Registrant code | 3 characters | Identifies the issuer — a label, a distributor or an artist | | Year of reference | 2 digits | The year the code was assigned, not necessarily the year of recording | | Designation code | 5 digits | A sequence number unique within that registrant and year | The prefix records where the registrant code was issued; it does not say where the recording was made or who owns it.[1] ## Who assigns an ISRC The International ISRC Registration Authority is IFPI, which appoints national agencies; in the United States that agency is operated by the RIAA.[1][2] An agency issues a **registrant code** to a label, a distributor or an independent artist, who then assigns the individual codes themselves. Most independent artists receive ISRCs from their distributor at upload, which means the distributor's registrant code is embedded in the recording's identifier for good. An ISRC should be assigned once, before the first release, and travel with the recording to every store and every [royalty](https://wiki.snvrkotics.com/music-royalties) statement afterwards. ## When a recording needs a new ISRC The rule of thumb is that a new ISRC is needed whenever the audio changes. A remix, a radio edit, a live recording, an acoustic version, a re-recording and a remaster that alters the sound are all new recordings. The same recording placed on a single, an album and a compilation keeps one ISRC across all three.[1] The release that contains the recordings carries a different identifier — a UPC or EAN barcode — so one album has one barcode and as many ISRCs as it has tracks. ## Why it matters for royalties Streaming services, distributors and collecting bodies such as [SoundExchange](https://wiki.snvrkotics.com/soundexchange) report usage by ISRC. A recording issued under two different codes splits its play counts and its earnings between two records that nothing links; a recording with no code cannot be matched to a statement at all. Matching every statement line back to a recording by ISRC is the basic operation of royalty accounting, which is why duplicate or missing codes are the most common cause of unattributed income. ## In practice at SNVRKOTICS SNVRKOTICS validates every ISRC in the catalog against the ISO 3901 format, flags a code used on two recordings, and matches each line of an imported distributor statement back to its recording by ISRC. ## Questions ### Is an ISRC the same for a song and a recording? No. An ISRC identifies one recording. The underlying song — the composition — is identified by an ISWC, and one song can have many recordings, each with its own ISRC. ### Does a remaster need a new ISRC? If the remaster changes the audio, yes; it is treated as a new recording. A recording that is re-released unchanged keeps its original ISRC. ### Can I get ISRCs without a distributor? Yes. An artist can apply to their national ISRC agency for a registrant code and assign codes themselves; in the United States that is the US ISRC Agency run by the RIAA. ### What does the year in an ISRC mean? It is the year the code was assigned, not the year the recording was made or released. ## References 1. IFPI, International ISRC Registration Authority. "International Standard Recording Code (ISRC)." https://isrc.ifpi.org/ 2. Recording Industry Association of America. "US ISRC Agency." https://www.usisrc.org/ ## Related - [International Standard Musical Work Code](https://wiki.snvrkotics.com/iswc): The ISWC is an ISO 15707 identifier for a musical work — the composition itself, independent of any recording of it. - [International Standard Name Identifier](https://wiki.snvrkotics.com/isni): The ISNI is a 16-digit ISO 27729 identifier for the public identity of a person or organization that contributes to creative works. - [Master recording](https://wiki.snvrkotics.com/master-recording): A master recording is the original fixed recording of a performance, and the separate copyright that protects that recording. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. - [DDEX](https://wiki.snvrkotics.com/ddex): DDEX is the music industry's standards body for the data exchanged in the digital supply chain, best known for the ERN release-delivery format. --- Cite as: "International Standard Recording Code." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/isrc --- # Master recording Also known as: Master, Sound recording copyright, Phonogram > A master recording, or master, is the original fixed recording of a performance from which every copy is made. In copyright law it is protected separately from the song it contains: the master belongs to whoever owns the sound recording — usually a record label, or the artist when self-released — while the composition belongs to its songwriters and publishers. Source: https://wiki.snvrkotics.com/master-recording · Category: Rights and licensing · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Also called:** Master, sound recording, phonogram - **Copyright symbol:** ℗ (sound recording copyright) - **Typical owner:** Record label, or the artist if self-released - **Identifier:** [ISRC](https://wiki.snvrkotics.com/isrc) - **Separate from:** [The musical work (composition)](https://wiki.snvrkotics.com/music-publishing) ## Two copyrights in every recorded song Every commercially released recording carries two copyrights. The **musical work** — the melody and lyrics — is owned by the songwriters and administered by their [publishers](https://wiki.snvrkotics.com/music-publishing). The **sound recording** — this particular performance, captured and fixed — is the master. The two are licensed separately, paid separately and often owned by entirely different people.[1] On packaging, the sound recording copyright is marked with ℗ (for *phonogram*) and the composition and artwork with ©. ## Who owns the master Whoever pays for and controls the recording usually owns the master. Under a traditional record deal that is the label, in exchange for funding the recording and its marketing and paying the artist a royalty. An independent artist who records and releases their own music owns their masters outright, and earns the master side of streaming income directly through their distributor. Ownership of a master can be sold, licensed or reverted under contract, and the master's [ISRC](https://wiki.snvrkotics.com/isrc) follows the recording regardless of who owns it. ## What a master earns The master owner is paid when the recording itself is used: sales and streams through a distributor, a **master use license** when the recording is placed in film, TV or an advertisement (alongside a [sync license](https://wiki.snvrkotics.com/synchronization-license) for the composition), digital performance royalties collected by [SoundExchange](https://wiki.snvrkotics.com/soundexchange) in the United States, and [neighboring rights](https://wiki.snvrkotics.com/neighboring-rights) income in countries that recognize them. ## Master recording versus mastering *Mastering* is the final audio-engineering step that prepares a mix for release. It shares the word but not the meaning: a mastered file is a technical deliverable, while the master recording, in the rights sense, is the copyrighted work regardless of how it was engineered. ## In practice at SNVRKOTICS SNVRKOTICS keeps the master split on each recording and the publishing split on each work as two separate split sheets, each of which must total 100% before it can be saved. ## Questions ### What does it mean to own your masters? It means you own the copyright in your sound recordings, so you control how they are licensed and receive the master side of their income directly, instead of a royalty from a label that owns them. ### Is the master the same as the song? No. The song is the composition, owned by its writers and publishers; the master is one recording of it. A cover version is a new master of the same song. ### What is a master split? The agreed percentage of the master's ownership or income held by each party — for example an artist and a producer who co-own a recording. It is documented separately from the publishing split. ## References 1. Legal Information Institute, Cornell Law School. "17 U.S. Code § 106 — Exclusive rights in copyrighted works." https://www.law.cornell.edu/uscode/text/17/106 ## Related - [Music publishing](https://wiki.snvrkotics.com/music-publishing): Music publishing is the business of owning or administering song copyrights: registering works, licensing them and collecting songwriters' royalties. - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. - [Synchronization license](https://wiki.snvrkotics.com/synchronization-license): A synchronization license permits music to be paired with moving images — film, television, advertising, games and online video. - [Split sheet](https://wiki.snvrkotics.com/split-sheet): A split sheet is a signed record of who owns what percentage of a song or recording, agreed by every contributor and totaling 100%. - [Neighboring rights](https://wiki.snvrkotics.com/neighboring-rights): Neighboring rights pay performers and recording owners when sound recordings are broadcast or played in public, in countries that recognize them. --- Cite as: "Master recording." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/master-recording --- # Mechanical license Also known as: Mechanical royalty, Mechanicals, Compulsory license > A mechanical license is permission to reproduce and distribute a musical composition in an audio recording, whether as a CD, vinyl record, download or interactive stream. The royalties it generates, called mechanicals, are owed to the song's writers and publishers. In the United States, Section 115 of the Copyright Act makes the license compulsory once a song has been released, at rates set by the Copyright Royalty Board. Source: https://wiki.snvrkotics.com/mechanical-license · Category: Rights and licensing · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Covers:** Reproduction of a composition in audio recordings - **Paid to:** [Songwriters and publishers](https://wiki.snvrkotics.com/music-publishing) - **US statute:** [17 U.S.C. § 115](https://www.law.cornell.edu/uscode/text/17/115) - **US rate setter:** Copyright Royalty Board - **US streaming collective:** [The MLC](https://wiki.snvrkotics.com/mechanical-licensing-collective) ## The compulsory license In the United States, once a song has been distributed to the public in recordings with the owner's permission, anyone may record and distribute their own version of it without asking, provided they serve the required notice and pay the statutory rate. This **compulsory mechanical license**, first introduced by the Copyright Act of 1909, is now codified in Section 115 of the Copyright Act.[1] It is why cover versions do not require the songwriter's consent — though they may not fundamentally change the melody or character of the work. Statutory rates are set by the **Copyright Royalty Board** in multi-year proceedings known as the *Phonorecords* proceedings. ## Physical copies and downloads For physical products and permanent downloads, the record label or distributor normally obtains the license and pays mechanicals to the publisher, either directly or through an agent such as the Harry Fox Agency, at a per-copy rate.[2] ## Interactive streaming Since the [Music Modernization Act](https://wiki.snvrkotics.com/music-modernization-act) of 2018, digital services in the United States obtain a single **blanket mechanical license** covering all eligible works and pay the resulting mechanicals to the [Mechanical Licensing Collective](https://wiki.snvrkotics.com/mechanical-licensing-collective), which matches usage to works and pays publishers and self-administered songwriters.[3] Outside the United States, mechanical rights in streams are generally licensed by national collecting societies. ## Questions ### Do I need permission to release a cover song? In the United States you do not need the songwriter's permission to release an audio cover of a previously released song, but you do need a mechanical license — the compulsory license under Section 115 — and must pay mechanical royalties. ### Who pays mechanical royalties on streams? In the United States, interactive streaming services pay them to the Mechanical Licensing Collective under the blanket license, and the MLC pays publishers and self-administered songwriters. ### Does a mechanical license cover using a song in a video? No. Pairing music with video requires a synchronization license. ## References 1. Legal Information Institute, Cornell Law School. "17 U.S. Code § 115 — Scope of exclusive rights in nondramatic musical works: compulsory license for making and distributing phonorecords." https://www.law.cornell.edu/uscode/text/17/115 2. Harry Fox Agency. "The Harry Fox Agency." https://www.harryfox.com/ 3. U.S. Copyright Office. "The Music Modernization Act." https://www.copyright.gov/music-modernization/ ## Related - [Mechanical Licensing Collective](https://wiki.snvrkotics.com/mechanical-licensing-collective): The MLC is the US nonprofit that administers the blanket mechanical license for streaming and download services, created by the Music Modernization Act. - [Music Modernization Act](https://wiki.snvrkotics.com/music-modernization-act): The Music Modernization Act is the 2018 US law that created the blanket mechanical license, The MLC, and protections for pre-1972 recordings. - [Music publishing](https://wiki.snvrkotics.com/music-publishing): Music publishing is the business of owning or administering song copyrights: registering works, licensing them and collecting songwriters' royalties. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. - [Synchronization license](https://wiki.snvrkotics.com/synchronization-license): A synchronization license permits music to be paired with moving images — film, television, advertising, games and online video. --- Cite as: "Mechanical license." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/mechanical-license --- # Mechanical Licensing Collective Also known as: The MLC, MLC > The Mechanical Licensing Collective (The MLC) is a nonprofit organization, designated by the U.S. Copyright Office under the Music Modernization Act of 2018, that administers the blanket mechanical license for digital audio services in the United States. Since January 2021 it has collected mechanical royalties from streaming and download services and paid them to music publishers and self-administered songwriters. Source: https://wiki.snvrkotics.com/mechanical-licensing-collective · Category: Royalties and collection · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Type:** Nonprofit - **Created under:** [Music Modernization Act (2018)](https://wiki.snvrkotics.com/music-modernization-act) - **Designated by:** [U.S. Copyright Office](https://www.copyright.gov/rulemaking/mma-designations/) - **Blanket license available:** January 1, 2021 - **Headquarters:** Nashville, Tennessee - **Website:** [themlc.com](https://www.themlc.com/) ## Role Before 2021, a streaming service in the United States had to obtain a [mechanical license](https://wiki.snvrkotics.com/mechanical-license) work by work, and large amounts of royalties went unmatched. Title I of the [Music Modernization Act](https://wiki.snvrkotics.com/music-modernization-act) replaced that with a single **blanket license** available to any eligible digital service, and created a collective to administer it.[1] The Copyright Office designated The MLC as that collective.[2] ## What it does Digital services send The MLC monthly usage reports and pay the mechanical royalties due. The MLC matches each reported [recording](https://wiki.snvrkotics.com/isrc) to the [musical work](https://wiki.snvrkotics.com/iswc) it embodies, looks up the registered owners and their shares, and pays them. It maintains a public database of works and ownership, and its operating costs are funded by the digital services rather than deducted from songwriters' royalties.[3] ## Unmatched royalties Royalties that cannot be matched to an owner are held while the collective tries to identify them. Under the statute, money that remains unclaimed after the holding period can be distributed to copyright owners in proportion to market share, which is why songwriters and publishers are urged to register their works and claim their shares.[1] ## What it does not cover The MLC handles **mechanical** royalties for **digital** uses in the **United States** only. It does not collect performance royalties, which go through [performing rights organizations](https://wiki.snvrkotics.com/performing-rights-organization), nor anything for the master recording, nor mechanicals from other countries. ## Questions ### Should independent songwriters register with The MLC? A self-administered songwriter — one without a publisher or administrator — needs to register with The MLC directly to receive US streaming mechanical royalties. Writers with a publisher are registered through it. ### Does The MLC charge songwriters a fee? Its administrative costs are paid by the digital services through an assessment, not deducted from the royalties it distributes. ### Is The MLC the same as a PRO? No. The MLC collects mechanical royalties for US digital uses; PROs collect performance royalties. A US stream generates both. ## References 1. U.S. Copyright Office. "The Music Modernization Act." https://www.copyright.gov/music-modernization/ 2. U.S. Copyright Office. "Designation of Mechanical Licensing Collective and Digital Licensee Coordinator." https://www.copyright.gov/rulemaking/mma-designations/ 3. The MLC. "The Mechanical Licensing Collective." https://www.themlc.com/ ## Related - [Mechanical license](https://wiki.snvrkotics.com/mechanical-license): A mechanical license permits the reproduction and distribution of a composition in recordings — physical copies, downloads and interactive streams. - [Music Modernization Act](https://wiki.snvrkotics.com/music-modernization-act): The Music Modernization Act is the 2018 US law that created the blanket mechanical license, The MLC, and protections for pre-1972 recordings. - [Music publishing](https://wiki.snvrkotics.com/music-publishing): Music publishing is the business of owning or administering song copyrights: registering works, licensing them and collecting songwriters' royalties. - [Performing rights organization](https://wiki.snvrkotics.com/performing-rights-organization): A performing rights organization licenses the public performance of songs and pays the royalties to their songwriters and publishers. --- Cite as: "Mechanical Licensing Collective." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/mechanical-licensing-collective --- # Music distributor Also known as: Digital distributor, Music aggregator > A music distributor, or aggregator, delivers an artist's or label's releases to streaming services and download stores, and collects the master-side income those services pay, returning it with a statement. Digital distributors typically assign ISRCs and UPCs if the artist has none, and charge either a subscription fee or a percentage of royalties. Source: https://wiki.snvrkotics.com/music-distributor · Category: Releases and distribution · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Delivers to:** Streaming services and download stores - **Collects:** [Master-side income from those services](https://wiki.snvrkotics.com/master-recording) - **Delivery format:** [DDEX ERN](https://wiki.snvrkotics.com/ddex) - **Business models:** Flat fee, subscription or revenue share ## Role Streaming services do not accept uploads from individual artists; they take deliveries from distributors they have contracts with. A distributor takes the audio, artwork and metadata, assigns any missing identifiers — an [ISRC](https://wiki.snvrkotics.com/isrc) per track and a UPC per release — and delivers the release in the [DDEX](https://wiki.snvrkotics.com/ddex) formats each store requires.[1] ## What a distributor pays, and what it does not A distributor collects only the **recording's** income from the services it delivers to and passes it on, less its fee. It does not collect the **composition's** income: performance royalties, which go through [PROs](https://wiki.snvrkotics.com/performing-rights-organization), and mechanical royalties, which in the United States go through [The MLC](https://wiki.snvrkotics.com/mechanical-licensing-collective). Nor does it collect [SoundExchange](https://wiki.snvrkotics.com/soundexchange) digital performance royalties. An artist relying on a distributor alone is usually leaving those streams uncollected. ## Working with more than one distributor Artists and labels often have catalog spread across several distributors over time, each with its own statement format, currency, reporting period and payment threshold. Consolidating those statements into one view, matched by ISRC, is a common accounting problem for independent catalogs. ## In practice at SNVRKOTICS SNVRKOTICS is not a distributor. It imports the statements an artist already receives from every distributor they use and matches them to the catalog by ISRC. ## Questions ### Does a distributor collect publishing royalties? Not as part of distribution. Distributors collect master-side income. Publishing royalties are collected by PROs, mechanical collectives and publishers, though some distributors also sell a separate publishing administration service. ### Can I keep my ISRCs if I change distributor? Yes, and you should. An ISRC identifies the recording; moving it to a new distributor with the same ISRC keeps its play history and royalty matching intact. ## References 1. DDEX. "DDEX — Digital Data Exchange." https://ddex.net/ ## Related - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. - [DDEX](https://wiki.snvrkotics.com/ddex): DDEX is the music industry's standards body for the data exchanged in the digital supply chain, best known for the ERN release-delivery format. - [Master recording](https://wiki.snvrkotics.com/master-recording): A master recording is the original fixed recording of a performance, and the separate copyright that protects that recording. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. - [Smart link](https://wiki.snvrkotics.com/smart-link): A smart link is one shareable URL for a release that sends each listener to the right streaming service, store or region. --- Cite as: "Music distributor." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/music-distributor --- # Music Modernization Act Also known as: MMA, Orrin G. Hatch–Bob Goodlatte Music Modernization Act, Public Law 115-264 > The Music Modernization Act (MMA) is a United States copyright law signed on October 11, 2018 as Public Law 115-264. It created a blanket mechanical license for digital music services administered by the Mechanical Licensing Collective, extended federal protection for digital uses to sound recordings made before 1972, and gave producers and engineers a statutory path to SoundExchange royalties. Source: https://wiki.snvrkotics.com/music-modernization-act · Category: Law and standards · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Jurisdiction:** United States - **Public law:** 115-264 - **Signed:** October 11, 2018 - **Title I:** [Musical Works Modernization Act](https://wiki.snvrkotics.com/mechanical-licensing-collective) - **Title II:** CLASSICS Act (pre-1972 recordings) - **Title III:** [AMP Act (producers and engineers)](https://wiki.snvrkotics.com/soundexchange) ## Background Before the MMA, a digital service in the United States had to obtain a [mechanical license](https://wiki.snvrkotics.com/mechanical-license) for each musical work it streamed, under a notice process designed for an era of physical records. Services frequently could not identify the owners of every work, and large sums of mechanical royalties went unmatched. Recordings fixed before February 15, 1972 were outside federal copyright entirely and protected only by a patchwork of state laws.[1] ## Title I — Musical Works Modernization Act Title I amended Section 115 of the Copyright Act to create a **blanket license** covering all musical works for eligible digital uses, and directed the Copyright Office to designate a collective to administer it. The [Mechanical Licensing Collective](https://wiki.snvrkotics.com/mechanical-licensing-collective) was designated in 2019 and the blanket license became available on January 1, 2021.[1][2] Title I also changed the standard the Copyright Royalty Board uses to set mechanical rates to a willing-buyer, willing-seller standard. ## Title II — CLASSICS Act Title II brought **pre-1972 sound recordings** under federal law for digital audio transmissions, so that digital services pay for them under the same statutory license as later recordings and the royalties flow through [SoundExchange](https://wiki.snvrkotics.com/soundexchange).[1] ## Title III — AMP Act Title III, the Allocation for Music Producers Act, codified the practice of paying **producers, mixers and sound engineers** a share of an artist's digital performance royalties through a letter of direction filed with SoundExchange, including a path for recordings made before November 1, 1995 where no such letter can be obtained.[1] ## Questions ### What did the Music Modernization Act do? It created a blanket mechanical license for streaming and download services administered by The MLC, extended federal digital protection to pre-1972 recordings, and gave producers and engineers a statutory route to SoundExchange royalties. ### When was the Music Modernization Act signed? October 11, 2018. It is Public Law 115-264. ### When did the blanket license start? The blanket mechanical license became available on January 1, 2021, the date The MLC began administering it. ## References 1. U.S. Copyright Office. "The Music Modernization Act." https://www.copyright.gov/music-modernization/ 2. U.S. Copyright Office. "Designation of Mechanical Licensing Collective and Digital Licensee Coordinator." https://www.copyright.gov/rulemaking/mma-designations/ ## Related - [Mechanical Licensing Collective](https://wiki.snvrkotics.com/mechanical-licensing-collective): The MLC is the US nonprofit that administers the blanket mechanical license for streaming and download services, created by the Music Modernization Act. - [Mechanical license](https://wiki.snvrkotics.com/mechanical-license): A mechanical license permits the reproduction and distribution of a composition in recordings — physical copies, downloads and interactive streams. - [SoundExchange](https://wiki.snvrkotics.com/soundexchange): SoundExchange is the US nonprofit that collects and distributes digital performance royalties for sound recordings under the statutory license. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. --- Cite as: "Music Modernization Act." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/music-modernization-act --- # Music publishing Also known as: Music publisher, Publishing > Music publishing is the business of owning or administering the copyrights in compositions. A publisher registers a songwriter's works with collecting societies, licenses them for recordings, performances, film and print, and collects the resulting royalties, keeping a share under the terms of a publishing, co-publishing or administration deal. Source: https://wiki.snvrkotics.com/music-publishing · Category: Rights and licensing · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Rights managed:** The musical work (composition) - **Income streams:** Performance, mechanical, sync and print - **Common deals:** Full publishing, co-publishing, administration - **Identifier:** [ISWC](https://wiki.snvrkotics.com/iswc) - **Separate from:** [The master recording](https://wiki.snvrkotics.com/master-recording) ## What a publisher does A publisher's work is administrative and commercial. It **registers** each composition, with its writers and their shares, with [performing rights organizations](https://wiki.snvrkotics.com/performing-rights-organization) and mechanical collectives such as the [MLC](https://wiki.snvrkotics.com/mechanical-licensing-collective); it **licenses** the works — [mechanical licenses](https://wiki.snvrkotics.com/mechanical-license) for recordings, [sync licenses](https://wiki.snvrkotics.com/synchronization-license) for film and advertising, print licenses for sheet music; it **collects** the resulting income worldwide; and it **pitches** songs to artists, supervisors and brands. ## The writer's share and the publisher's share Publishing income is conventionally divided into two halves. The **writer's share** is paid directly to songwriters by their performing rights organization and cannot be assigned to a publisher. The **publisher's share** is paid to whoever owns or administers the publishing. A writer with no publisher can collect the publisher's share themselves by registering a publishing entity — otherwise part of their performance income may go uncollected.[1] ## Types of publishing deal | Deal | Who owns the copyright | Publisher's take | | --- | --- | --- | | Full publishing | The publisher, by assignment | Typically the whole publisher's share | | Co-publishing | Writer and publisher, jointly | Typically half of the publisher's share | | Administration | The writer | A fee, commonly a percentage of income, for a fixed term | Terms vary widely; the percentages above describe the usual shape of each deal rather than a standard rate. ## In practice at SNVRKOTICS SNVRKOTICS records a publishing split on every work, with each writer's share and publisher, separate from the master split on each recording. ## Questions ### Do I need a publisher to get paid for my songs? No, but someone must register your works and collect the publisher's share. You can do this yourself by setting up your own publishing entity, or hire an administrator to do it for a fee. ### What is the difference between a publisher and a PRO? A performing rights organization licenses and collects performance royalties only. A publisher manages all of a song's rights and income, including registering the song with the PRO. ### What is a publishing administration deal? An agreement in which the writer keeps ownership of their copyrights and a company registers, licenses and collects on their behalf for a percentage fee over a fixed term. ## References 1. ASCAP. "ASCAP — American Society of Composers, Authors and Publishers." https://www.ascap.com/ ## Related - [International Standard Musical Work Code](https://wiki.snvrkotics.com/iswc): The ISWC is an ISO 15707 identifier for a musical work — the composition itself, independent of any recording of it. - [Performing rights organization](https://wiki.snvrkotics.com/performing-rights-organization): A performing rights organization licenses the public performance of songs and pays the royalties to their songwriters and publishers. - [Mechanical license](https://wiki.snvrkotics.com/mechanical-license): A mechanical license permits the reproduction and distribution of a composition in recordings — physical copies, downloads and interactive streams. - [Synchronization license](https://wiki.snvrkotics.com/synchronization-license): A synchronization license permits music to be paired with moving images — film, television, advertising, games and online video. - [Split sheet](https://wiki.snvrkotics.com/split-sheet): A split sheet is a signed record of who owns what percentage of a song or recording, agreed by every contributor and totaling 100%. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. --- Cite as: "Music publishing." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/music-publishing --- # Music royalties Also known as: Royalties, Music royalty > Music royalties are payments made to rights holders for the use of their music. Because every recorded song carries two copyrights, royalties flow in two streams: composition royalties — performance, mechanical, sync and print — paid to songwriters and publishers, and master royalties — sales, streams, master licensing and digital performance — paid to recording owners and performers. Source: https://wiki.snvrkotics.com/music-royalties · Category: Royalties and collection · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Composition side:** Performance, mechanical, sync, print - **Recording side:** Sales and streams, master use, digital performance, neighboring rights - **Matched by:** [ISRC (recordings), ISWC (works)](https://wiki.snvrkotics.com/isrc) - **Reported in:** Distributor and society statements ## Two streams of income Every royalty traces back to one of the two copyrights in a recorded song, each with its own exclusive rights.[1] Income for the **composition** goes to its writers and [publishers](https://wiki.snvrkotics.com/music-publishing); income for the **recording** goes to the owner of the [master](https://wiki.snvrkotics.com/master-recording) and, in some cases, its performers. The same stream on a streaming service therefore generates two separate payments, through two separate chains, often months apart. ## Types of royalty | Royalty | Side | Triggered by | Typically collected by | | --- | --- | --- | --- | | Performance | Composition | Radio, TV, venues, streaming | [Performing rights organizations](https://wiki.snvrkotics.com/performing-rights-organization) | | Mechanical | Composition | Copies, downloads, interactive streams | Publishers; the [MLC](https://wiki.snvrkotics.com/mechanical-licensing-collective) for US streaming | | Sync | Composition and master | Use with moving images | Negotiated directly ([sync license](https://wiki.snvrkotics.com/synchronization-license)) | | Print | Composition | Sheet music and lyric reproduction | Publishers | | Sales and streams | Master | Downloads, physical sales, streams | Distributors and labels | | Digital performance | Master | US non-interactive digital radio | [SoundExchange](https://wiki.snvrkotics.com/soundexchange) | | Neighboring rights | Master | Broadcast and public performance abroad | [Neighboring rights](https://wiki.snvrkotics.com/neighboring-rights) societies | ## Statements and matching Each payer issues its own statement, in its own format, on its own schedule. A distributor reports streams by store, territory and [ISRC](https://wiki.snvrkotics.com/isrc); a society reports performances by work and [ISWC](https://wiki.snvrkotics.com/iswc). Reconciling them — matching every line to a recording or work, then dividing it by the [split sheet](https://wiki.snvrkotics.com/split-sheet) — is the core of royalty accounting. Industry formats such as [DDEX](https://wiki.snvrkotics.com/ddex) sales reports exist to make this less manual. ## In practice at SNVRKOTICS SNVRKOTICS imports statements from every distributor, matches each line to its recording by ISRC, and produces a consolidated report as a workbook of live formulas, so every figure can be traced back to its statement line. ## Questions ### What are the main types of music royalties? On the composition side: performance, mechanical, sync and print royalties. On the recording side: sales and streaming income, master licensing fees, digital performance royalties and neighboring rights. ### Why do I get paid twice for one stream? A stream uses both the recording and the song. The recording's income reaches the master owner through a distributor or label; the song's income reaches writers and publishers through PROs, mechanical collectives and publishers. ### Why are my royalties late? Each chain has its own reporting lag, and composition royalties usually pass through more hands. Missing or mismatched identifiers and unregistered works delay payment further. ## References 1. Legal Information Institute, Cornell Law School. "17 U.S. Code § 106 — Exclusive rights in copyrighted works." https://www.law.cornell.edu/uscode/text/17/106 ## Related - [Performing rights organization](https://wiki.snvrkotics.com/performing-rights-organization): A performing rights organization licenses the public performance of songs and pays the royalties to their songwriters and publishers. - [Mechanical license](https://wiki.snvrkotics.com/mechanical-license): A mechanical license permits the reproduction and distribution of a composition in recordings — physical copies, downloads and interactive streams. - [SoundExchange](https://wiki.snvrkotics.com/soundexchange): SoundExchange is the US nonprofit that collects and distributes digital performance royalties for sound recordings under the statutory license. - [Neighboring rights](https://wiki.snvrkotics.com/neighboring-rights): Neighboring rights pay performers and recording owners when sound recordings are broadcast or played in public, in countries that recognize them. - [Split sheet](https://wiki.snvrkotics.com/split-sheet): A split sheet is a signed record of who owns what percentage of a song or recording, agreed by every contributor and totaling 100%. - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. --- Cite as: "Music royalties." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/music-royalties --- # Neighboring rights Also known as: Neighbouring rights, Related rights > Neighboring rights, also called related rights, are rights adjacent to copyright that belong to performers and to the producers of sound recordings rather than to songwriters. In countries that recognize them, broadcasters and public venues pay for playing recordings, and collecting societies distribute that money to the featured and session performers and the master owners. The United States has no general neighboring right for terrestrial radio. Source: https://wiki.snvrkotics.com/neighboring-rights · Category: Rights and licensing · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Also called:** Related rights - **Paid to:** Performers and master owners - **Founding treaty:** [Rome Convention (1961)](https://www.wipo.int/treaties/en/ip/rome/) - **United States:** [No general terrestrial radio right; digital performance right only](https://wiki.snvrkotics.com/soundexchange) ## Definition Copyright in a song rewards the people who wrote it. Neighboring rights reward the people who **performed** and **recorded** it. They were established internationally by the 1961 Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations, administered by WIPO.[1] When a recording is played on the radio, on television or in a public venue in a country that recognizes the right, the user owes a payment for the recording in addition to the performance royalty owed for the song. ## Who collects them Neighboring rights are collected by national societies — for example PPL in the United Kingdom and GVL in Germany — and are normally split between the master owner and the performers, including session musicians. Because each society pays its own members first, performers from abroad usually need a registration with a home society that has reciprocal agreements, or with an agent who registers their recordings, identified by [ISRC](https://wiki.snvrkotics.com/isrc), in each territory. ## The position in the United States The United States is not a party to the Rome Convention and does not grant a performance right in sound recordings for AM and FM radio. It does grant one for **digital audio transmissions** — satellite radio, internet radio and similar non-interactive services — under Section 114 of the Copyright Act, and that income is collected and distributed by [SoundExchange](https://wiki.snvrkotics.com/soundexchange).[2] American artists whose recordings are played abroad can still earn neighboring rights in those countries. ## Questions ### Do American artists earn neighboring rights? Not from US terrestrial radio, which pays no performance royalty for recordings. They can earn them when their recordings are played in countries that recognize the right, and earn digital performance royalties in the US through SoundExchange. ### Are neighboring rights the same as performance royalties? They are the recording-side counterpart. Performance royalties for the composition go to songwriters and publishers via PROs; neighboring rights for the recording go to performers and master owners via neighboring rights societies. ### Do session musicians get neighboring rights? In countries that recognize them, yes — non-featured performers on a recording are generally entitled to a share. ## References 1. World Intellectual Property Organization. "Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations." https://www.wipo.int/treaties/en/ip/rome/ 2. Legal Information Institute, Cornell Law School. "17 U.S. Code § 114 — Scope of exclusive rights in sound recordings." https://www.law.cornell.edu/uscode/text/17/114 ## Related - [SoundExchange](https://wiki.snvrkotics.com/soundexchange): SoundExchange is the US nonprofit that collects and distributes digital performance royalties for sound recordings under the statutory license. - [Master recording](https://wiki.snvrkotics.com/master-recording): A master recording is the original fixed recording of a performance, and the separate copyright that protects that recording. - [Performing rights organization](https://wiki.snvrkotics.com/performing-rights-organization): A performing rights organization licenses the public performance of songs and pays the royalties to their songwriters and publishers. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. --- Cite as: "Neighboring rights." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/neighboring-rights --- # NVR.to Also known as: nvr.to > NVR.to is the smart-link service operated by SNVRKOTICS. Each release gets one short link on nvr.to, or on the artist's own domain, that sends listeners to the release on their streaming service and can route by country, platform and referring site. Its click analytics store no cookie and no IP address. Source: https://wiki.snvrkotics.com/nvr-to · Category: SNVRKOTICS · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Operator:** [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics) - **Type:** [Smart links for music releases](https://wiki.snvrkotics.com/smart-link) - **Link form:** nvr.to/slug, or a custom domain - **Routing:** Country, platform, referrer - **Analytics:** No cookie, no IP address stored - **Website:** [nvr.to](https://nvr.to) ## Overview NVR.to is the release-link product of [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics). The hostname is four characters on purpose: a link is printed in bios, stories and press releases, and every character is one a reader has to look at. Slugs on nvr.to are globally unique; a workspace can also point a domain it owns at the service and serve its links there.[1] ## Routing and analytics A link can send listeners to different destinations depending on their **country**, their **platform** and the **site they came from**. Clicks are counted by service, country and referrer without setting a cookie and without storing the visitor's IP address. Links also have an embeddable form that other sites may frame. ## Questions ### What is NVR.to? A smart-link service from SNVRKOTICS: one short link per release that routes listeners to the right streaming service. ### Can I use my own domain with NVR.to? Yes. A workspace can point a domain it controls at the service and serve its links there instead of on nvr.to. ## References 1. SNVRKOTICS. "NVR.to — smart links." https://snvrkotics.com/links ## Related - [Smart link](https://wiki.snvrkotics.com/smart-link): A smart link is one shareable URL for a release that sends each listener to the right streaming service, store or region. - [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics): SNVRKOTICS is a rights and royalty platform for independent music: catalog, split sheets, distributor statements and release links. - [Music distributor](https://wiki.snvrkotics.com/music-distributor): A music distributor delivers releases to streaming services and stores and passes the resulting master income back to the rights owner. --- Cite as: "NVR.to." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/nvr-to --- # NYC Ticketstorm Also known as: Ticketstorm, NYC Ticketstorm (06/06/2026) > The NYC Ticketstorm was a guerrilla marketing stunt carried out by SNVRK between 1 and 5 a.m. on June 6, 2026, the day after his album SNVRKOLEPSY was released. Orange envelopes styled after New York City parking tickets were left on parked cars in Brooklyn Heights and DUMBO, each with a QR code leading to the album. SNVRK has put the number distributed at 100,000. Source: https://wiki.snvrkotics.com/nyc-ticketstorm · Category: SNVRK Wiki · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Date:** June 6, 2026 - **Time:** 1:00 – 5:00 a.m. - **Location:** Brooklyn Heights and DUMBO, New York City - **Type:** Guerrilla marketing, performance art - **Organized by:** [SNVRK](https://wiki.snvrkotics.com/snvrk) - **Promoting:** [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy) - **Artwork:** [The Treachery of Tickets](https://wiki.snvrkotics.com/the-treachery-of-tickets) - **Quantity:** 100,000 (per SNVRK) ## Execution Between 1:00 and 5:00 a.m. on June 6, 2026, SNVRK placed orange envelopes on the windshields of parked cars, so that residents would find them at the same time on waking.[1] Accounts on the SNVRK Wiki center the route on Brooklyn Heights and DUMBO and name other neighborhoods in passing, including Boerum Hill and Lower Manhattan. The stunt was dedicated to #America250 and to independent artists.[1] ## Design The envelopes were made to pass for New York City Department of Finance citations at a glance: the same hi-vis orange, the same proportions, and a QR code where a reader would look for payment instructions, which led to the *[SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy)* site. SNVRK has said the distribution method came from the dial cards he used as a meter reader for Con Edison. The design is catalogued as an artwork, [The Treachery of Tickets](https://wiki.snvrkotics.com/the-treachery-of-tickets).[1] ## Objectives SNVRK has described the stunt as an "offline-to-online" campaign meant to break with digital-only album rollouts, and framed the music as a "reward" for the scare of finding a ticket.[1] ## Aftermath SNVRK announced a press conference on the steps of New York City Hall for July 19, 2026, to address the stunt and the album. It was later cancelled; SNVRK cited the [lawsuit](https://wiki.snvrkotics.com/gottfried-v-night-media) he had filed in June.[1] ## Questions ### What was the NYC Ticketstorm? A stunt on June 6, 2026 in which SNVRK left mock parking-ticket envelopes on parked cars in Brooklyn to promote his album SNVRKOLEPSY. ### How many tickets were distributed? SNVRK has put the number at 100,000. ### Were the tickets real? No. They imitated NYC parking tickets; each carried a QR code to the album. ## References 1. SNVRK Wiki on Fandom (self-published by the subject). "NYC Ticketstorm (06/06/2026)." https://snvrk.fandom.com/wiki/NYC_Ticketstorm_(06%2F06%2F2026) ## Related - [The Treachery of Tickets](https://wiki.snvrkotics.com/the-treachery-of-tickets): The Treachery of Tickets is SNVRK's 2026 paper artwork: a replica NYC parking-ticket envelope reading "THIS IS NOT A TICKET." - [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy): SNVRKOLEPSY is the 11-track debut studio album by SNVRK, released through SNVRKOTICS on June 5, 2026. - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. --- Cite as: "NYC Ticketstorm." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/nyc-ticketstorm --- # Performing rights organization Also known as: PRO, Performance rights organization, Performing rights society > A performing rights organization (PRO) licenses the public performance of musical compositions — on radio, television, streaming services and in venues — and distributes the fees as royalties to songwriters and publishers. In the United States the PROs are ASCAP, BMI, SESAC and GMR; most other countries have a single national society, such as PRS for Music in the UK or SOCAN in Canada. Source: https://wiki.snvrkotics.com/performing-rights-organization · Category: Royalties and collection · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Licenses:** Public performance of compositions - **Pays:** Songwriters (writer's share) and publishers (publisher's share) - **US PROs:** ASCAP, BMI, SESAC, GMR - **International body:** [CISAC](https://www.cisac.org/) - **Work identifier:** [ISWC](https://wiki.snvrkotics.com/iswc) ## How a PRO works A PRO grants **blanket licenses** to broadcasters, streaming services and venues, allowing them to perform every work in its repertoire for a fee. It then works out, from usage reports and surveys, which works were performed and pays the money out to the registered writers and publishers, minus its operating costs.[1][2] The writer's share is paid to writers directly, which is why a songwriter joins a PRO even when they have a publisher. ## The United States The United States is unusual in having several competing PROs. **ASCAP** and **BMI** are the largest and operate under consent decrees with the U.S. Department of Justice; **SESAC** and **GMR** (Global Music Rights) are smaller and admit members by invitation. A writer affiliates with one PRO at a time for any given work, and each co-writer of a song may belong to a different one. ## Outside the United States Most countries have one society covering performance rights, and many also cover mechanical rights — for example GEMA in Germany and SACEM in France. Societies are linked by reciprocal agreements, coordinated through CISAC, under which each collects for the others' members in its own territory and passes the money back.[3] ## What a PRO does not collect A PRO collects for the **composition's** performance only. It does not collect [mechanical royalties](https://wiki.snvrkotics.com/mechanical-license) in the United States, income from the [master recording](https://wiki.snvrkotics.com/master-recording), digital performance royalties for recordings (collected by [SoundExchange](https://wiki.snvrkotics.com/soundexchange)), or [sync](https://wiki.snvrkotics.com/synchronization-license) fees. ## Questions ### Which PRO should I join? In the United States most independent songwriters choose between ASCAP and BMI, which both accept applications; SESAC and GMR are by invitation. Compare their terms and payment schedules — the core service is similar. ### Can I belong to two PROs? Not as a writer for the same works in the same territory. You affiliate with one, though your co-writers may belong to others. ### Does a PRO collect streaming royalties? It collects the performance royalties streaming services pay for compositions. The mechanical side of a US stream goes through the MLC, and the recording side through the distributor. ## References 1. ASCAP. "ASCAP — American Society of Composers, Authors and Publishers." https://www.ascap.com/ 2. BMI. "BMI — Broadcast Music, Inc.." https://www.bmi.com/ 3. CISAC. "International Confederation of Societies of Authors and Composers." https://www.cisac.org/ ## Related - [Music publishing](https://wiki.snvrkotics.com/music-publishing): Music publishing is the business of owning or administering song copyrights: registering works, licensing them and collecting songwriters' royalties. - [International Standard Musical Work Code](https://wiki.snvrkotics.com/iswc): The ISWC is an ISO 15707 identifier for a musical work — the composition itself, independent of any recording of it. - [Mechanical Licensing Collective](https://wiki.snvrkotics.com/mechanical-licensing-collective): The MLC is the US nonprofit that administers the blanket mechanical license for streaming and download services, created by the Music Modernization Act. - [SoundExchange](https://wiki.snvrkotics.com/soundexchange): SoundExchange is the US nonprofit that collects and distributes digital performance royalties for sound recordings under the statutory license. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. --- Cite as: "Performing rights organization." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/performing-rights-organization --- # Smart link Also known as: Pre-save link, Fan link, Release link > A smart link is a single shareable URL for a song or release that leads to a landing page or redirect sending each listener to the version of it on their preferred streaming service. More advanced smart links route by country, device or referring site, and report which services and places the clicks came from. Source: https://wiki.snvrkotics.com/smart-link · Category: Releases and distribution · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Purpose:** One link for a release across every service - **Can route by:** Country, platform, referrer - **Common uses:** Social bios, ads, press releases, pre-saves - **Example service:** [NVR.to](https://wiki.snvrkotics.com/nvr-to) ## How it works A release exists at a different URL on every service. A smart link replaces that list with one address. When it is opened, the link either shows a page with a button per service or redirects straight to the one the listener's context suggests — the app installed on their device, a store that operates in their country, or a destination chosen for traffic arriving from a particular site. ## Click analytics Because every click passes through the link, it can be counted: by service chosen, by country and by referring site. That tells an artist where a rollout is working before the streaming services' own dashboards update. How those analytics are collected varies widely — some services set tracking cookies and record IP addresses, others aggregate without either — which matters under privacy law in many countries. ## Pre-saves Before release, many smart links act as **pre-save** pages that let a listener add the release to their library ahead of time, so it appears for them on release day. After release, the same link becomes the normal listening link. ## In practice at SNVRKOTICS SNVRKOTICS runs NVR.to, a smart-link service whose click analytics store no cookie and no IP address. ## Questions ### What is the difference between a smart link and a link in bio? A smart link is for one release and routes to that release on each service. A link-in-bio page collects many links — releases, merchandise, tour dates — on a single profile page. ### Do smart links affect streaming royalties? Not directly. They change where listeners end up, not how a service pays for the stream. ## Related - [NVR.to](https://wiki.snvrkotics.com/nvr-to): NVR.to is the smart-link service from SNVRKOTICS: one short link per release, routed by country, platform and referrer. - [Music distributor](https://wiki.snvrkotics.com/music-distributor): A music distributor delivers releases to streaming services and stores and passes the resulting master income back to the rights owner. - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. --- Cite as: "Smart link." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/smart-link --- # SNVRK Also known as: Caleb Gottfried, The Anticarti > SNVRK is the stage name of Caleb Gottfried (born September 16, 2006), an American experimental artist, songwriter and producer from Canarsie, Brooklyn. He founded SNVRKOTICS in 2024 and released his debut studio album, SNVRKOLEPSY, through it on June 5, 2026, promoting it with a guerrilla campaign of mock parking tickets across New York City. Source: https://wiki.snvrkotics.com/snvrk · Category: People · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Birth name:** Caleb Gottfried - **Born:** September 16, 2006 · Canarsie, Brooklyn, New York City, U.S. - **Also known as:** The Anticarti - **Occupations:** Experimental artist, producer, songwriter, scientist, fashion designer, performer, entrepreneur - **Years active:** 2021–present - **Genres:** Hip hop, experimental rap, trap, alternative rap, hypertrap - **Label:** [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics) - **Notable work:** [SNVRKOLEPSY (2026)](https://wiki.snvrkotics.com/snvrkolepsy) - **Website:** [snvrk.com](https://snvrk.com) - **ISNI:** [0000 0005 2449 3943](https://isni.org/isni/0000000524493943) - **MusicBrainz:** [c452df84-d864-4c35-bc84-815ff89fd65f](https://musicbrainz.org/artist/c452df84-d864-4c35-bc84-815ff89fd65f) ## Early life Caleb Gottfried was born on September 16, 2006, in the Canarsie neighborhood of Brooklyn, New York City. He has described growing up between the New York "swag era" and the internet of the early 2010s — Vine, early YouTube, *Grand Theft Auto V*, *agar.io* and the first wave of SoundCloud rap — and names The Weeknd, Travis Scott, Playboi Carti and Kanye West among his influences.[1] ## Career SNVRK began releasing music in 2021 and, by his account, started making label-quality recordings in late 2023, at 17.[1] According to SNVRK, in March 2024 he was briefly offered a place at Opium, the label founded by Playboi Carti, and the offer was withdrawn days later; he has said the episode became the basis of *SNVRKOLEPSY*, a concept album about betrayal, awakening and cultural disruption.[1] ### SNVRKOTICS In 2024 he founded [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics), operated by SNVRKOTICS LLC, a Delaware limited liability company, as the independent home for his music, visual direction and brand.[2] The company has since grown into a rights and royalty platform for independent musicians, with divisions for sync licensing, photography, research, fashion and news. SNVRKOTICS lists [AWGE](https://wiki.snvrkotics.com/awge), the creative agency founded by A$AP Rocky, as a backer of its label division, a relationship it states on the founder's confirmation.[3] Through 2025 SNVRK released little, building up a vault of recordings and visuals ahead of a 2026 rollout.[1] ## SNVRKOLEPSY SNVRK's debut studio album, *[SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy)*, was released independently through SNVRKOTICS on June 5, 2026: eleven tracks produced by Godzay, with credits to Funk Flex and SNEAKO. Its lead single, ["33 HRS"](https://wiki.snvrkotics.com/33-hrs), had been released on March 20, 2026. An expanded edition, *33°*, has been announced.[1] The album was promoted with what SNVRK called the **[Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm)**: in the early hours of June 6, 2026, orange envelopes styled after New York City parking tickets were left on vehicles in Brooklyn Heights, DUMBO and Lower Manhattan, each carrying a QR code that led to the album's site. SNVRK has put the number distributed at 100,000, and has said the idea came from the dial cards he handled as a meter reader for Con Edison.[1] ## Legal proceedings On June 26, 2026, Gottfried filed a complaint without counsel in the United States District Court for the Southern District of New York, captioned *[Gottfried v. Night Media, Inc. et al.](https://wiki.snvrkotics.com/gottfried-v-night-media)* (No. 1:26-cv-05471), naming Night Media and Kai Cenat LLC among the defendants. The case arises from the in-person auditions for the second season of Streamer University, held on June 12, 2026 at John Jay College of Criminal Justice in Manhattan; the complaint alleges claims for crowd safety and right of publicity. He was granted *in forma pauperis* status, which allows a case to proceed without the filing fee and is not a ruling on the merits. The allegations have not been tested, and the defendants have not been found liable for anything.[4] ## Artistry and image SNVRK's visual identity is built on a single hi-vis orange (#ff4400), industrial safety gear, reflective materials and the imagery of municipal enforcement — parking tickets, caution tape, utility uniforms — which he has described as "a signature of authority". His rollouts favor physical, city-scale stunts over digital-only campaigns, an approach he calls "offline-to-online".[1] ## Discography **Studio albums** - *[SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy)* (2026) **Singles** - ["33 HRS"](https://wiki.snvrkotics.com/33-hrs) (2026) *33°*, an expanded edition of *SNVRKOLEPSY*, has been announced. See the full [discography](https://wiki.snvrkotics.com/discography). ## Questions ### Who is SNVRK? SNVRK is Caleb Gottfried, an American experimental artist, songwriter and producer from Brooklyn, born in 2006, and the founder of SNVRKOTICS. ### What is SNVRK's real name? Caleb Gottfried. ### When was SNVRK born? September 16, 2006, in Canarsie, Brooklyn, New York City. ### What is SNVRK's debut album? SNVRKOLEPSY, released through SNVRKOTICS on June 5, 2026. ### What company did SNVRK found? SNVRKOTICS, operated by SNVRKOTICS LLC, founded in 2024. ## References 1. SNVRK Wiki on Fandom (self-published by the subject). "SNVRK." https://snvrk.fandom.com/wiki/SNVRK 2. SNVRKOTICS. "About SNVRKOTICS." https://snvrkotics.com/about 3. SNVRKOTICS. "SNVRKOTICS partners." https://snvrkotics.com/partners 4. SNVRKOTICS Newsroom. "Gottfried v. Night Media: live updates from the SDNY case." https://snvrkotics.com/newsroom/live/gottfried-v-night-media ## Related - [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy): SNVRKOLEPSY is the 11-track debut studio album by SNVRK, released through SNVRKOTICS on June 5, 2026. - [SNVRK discography](https://wiki.snvrkotics.com/discography): The discography of SNVRK: the 2026 studio album SNVRKOLEPSY, the single "33 HRS", and an announced expanded edition, 33°. - [NYC Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm): The NYC Ticketstorm was SNVRK's June 6, 2026 stunt: mock parking-ticket envelopes on parked cars in Brooklyn, promoting SNVRKOLEPSY. - [Gottfried v. Night Media, Inc. et al.](https://wiki.snvrkotics.com/gottfried-v-night-media): Gottfried v. Night Media is a 2026 federal lawsuit by SNVRK (Caleb Gottfried) over the Streamer University auditions in Manhattan. - [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics): SNVRKOTICS is a rights and royalty platform for independent music: catalog, split sheets, distributor statements and release links. - [AWGE](https://wiki.snvrkotics.com/awge): AWGE is the creative agency, online store and record label founded by A$AP Rocky in 2014; SNVRKOTICS lists it as a backer. --- Cite as: "SNVRK." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/snvrk --- # SNVRK discography Also known as: Discography > The discography of the American experimental artist SNVRK consists of one studio album, SNVRKOLEPSY, released through SNVRKOTICS on June 5, 2026, and one single, "33 HRS" with Funk Flex, released on March 20, 2026, with one music video. An expanded edition of the album, 33°, has been announced; no mixtapes have been released. Source: https://wiki.snvrkotics.com/discography · Category: SNVRK Wiki · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Studio albums:** 1 - **Expanded editions:** 1 (announced) - **Mixtapes:** 0 - **Singles:** 1 - **Music videos:** 1 ## Studio albums | Title | Details | | --- | --- | | *[SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy)* | Released: June 5, 2026 · Label: SNVRKOTICS · Formats: digital download, streaming | The album has eleven tracks.[1] ## Expanded editions | Title | Details | | --- | --- | | *33°* | Announced "original vision" edition of *SNVRKOLEPSY*, with interludes, alternate versions and new songs. Release not yet confirmed. | ## Singles | Title | Year | Album | | --- | --- | --- | | ["33 HRS"](https://wiki.snvrkotics.com/33-hrs) (with Funk Flex) | 2026 | *SNVRKOLEPSY* | ## Music videos | Title | Year | Director | | --- | --- | --- | | "33 HRS" | 2026 | SNVRK | ## Questions ### How many albums has SNVRK released? One studio album, SNVRKOLEPSY (2026). ### What is SNVRK's first single? "33 HRS" with Funk Flex, released March 20, 2026. ## References 1. Spotify. "SNVRKOLEPSY — Album by SNVRK." https://open.spotify.com/album/0DxNw7GvwrYmoRsHgPpchr ## Related - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. - [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy): SNVRKOLEPSY is the 11-track debut studio album by SNVRK, released through SNVRKOTICS on June 5, 2026. - [33 HRS](https://wiki.snvrkotics.com/33-hrs): "33 HRS" is a song by SNVRK with Funk Flex, the lead single and opening track of the 2026 album SNVRKOLEPSY. --- Cite as: "SNVRK discography." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/discography --- # SNVRKOLEPSY > SNVRKOLEPSY is the debut studio album by the American experimental artist SNVRK, released independently through SNVRKOTICS on June 5, 2026. Its eleven tracks run about 27 minutes, were produced by Godzay with SNVRK, and include collaborations credited to Funk Flex and SNEAKO. The album was promoted with the Ticketstorm, a citywide stunt of mock parking tickets in New York. Source: https://wiki.snvrkotics.com/snvrkolepsy · Category: SNVRK Wiki · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Released:** June 5, 2026 - **Recorded:** 2025 - **Studio:** Pirate Studios, Gowanus - **Genre:** Hip hop - **Length:** 27:10 - **Label:** [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics) - **Producer:** Godzay, SNVRK - **UPC:** 199936128954 - **Previous:** — - **Current:** SNVRKOLEPSY (2026) - **Next:** 33° (announced) - **1:** ["33 HRS" — March 20, 2026](https://wiki.snvrkotics.com/33-hrs) ## Background SNVRK announced the album on January 8, 2026, describing it as a "systemic reset" of how music is rolled out and as built on what he called "offline-to-online" mechanics.[1] He has said the record grew out of a withdrawn offer from Opium in March 2024, and conceived it as a concept album about betrayal, awakening and cultural disruption; see [SNVRK](https://wiki.snvrkotics.com/snvrk). ## Production The album was recorded in 2025 at Pirate Studios in Gowanus, Brooklyn, and produced by Godzay with SNVRK. According to SNVRK, it was made and mastered entirely in Logic Pro 11 — "I always mix into my plugins" — with the Slate Digital FG-X2 processor giving the record its loud, dense finish.[1] Its hi-vis orange and gray visual identity is drawn from industrial safety equipment. SNVRK has said the idea for the album's physical promotion came from the dial cards he handled as a meter reader for Con Edison.[1] ## Release and promotion *SNVRKOLEPSY* was released on June 5, 2026 through [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics) on streaming services and as a download.[2] Its lead single, ["33 HRS"](https://wiki.snvrkotics.com/33-hrs), had been released on March 20. Early on June 6, the [NYC Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm) put mock parking-ticket envelopes — the artwork later titled [The Treachery of Tickets](https://wiki.snvrkotics.com/the-treachery-of-tickets) — on parked cars in Brooklyn, each pointing to the album. A press conference on the steps of New York City Hall was announced for July 19, 2026 and later cancelled; SNVRK cited the [lawsuit](https://wiki.snvrkotics.com/gottfried-v-night-media) then under way.[1] An expanded "original vision" edition, *33°*, has been announced. No release of it could be confirmed at the time of writing. ## Track listing Titles and credits as listed on the release;[2] all tracks produced by Godzay.[1] | No. | Title | Credit | Length | | --- | --- | --- | --- | | 1 | ["33 HRS"](https://wiki.snvrkotics.com/33-hrs) | with Funk Flex | 2:10 | | 2 | ["3.3%"](https://wiki.snvrkotics.com/3-3-percent) | feat. Martin Shkreli | 3:30 | | 3 | "(424) 42-SNVRK" | | 1:59 | | 4 | "NOOSE" | | 2:29 | | 5 | "GO HOME" | | 2:55 | | 6 | "★★★★★★" | | 2:47 | | 7 | "PROBLEMS" | | 1:56 | | 8 | "T.M.I." | | 1:53 | | 9 | "SPIN THE BLOCK" | | 1:57 | | 10 | "I GOTTA" | with SNEAKO | 2:17 | | 11 | "★³³" | | 3:17 | | | **Total length** | | **27:10** | ## Personnel - [SNVRK](https://wiki.snvrkotics.com/snvrk) — lead vocals, production, mixing, mastering, executive production - Godzay — production - [SNVRKOTICS](https://wiki.snvrkotics.com/snvrkotics) — creative direction, artwork ## Release history | Region | Date | Format | Label | | --- | --- | --- | --- | | Worldwide | June 5, 2026 | Digital download, streaming | SNVRKOTICS | ## Questions ### When was SNVRKOLEPSY released? June 5, 2026, through SNVRKOTICS. ### How many songs are on SNVRKOLEPSY? Eleven, running about 27 minutes. ### Who produced SNVRKOLEPSY? Godzay, with SNVRK. ### Who is featured on SNVRKOLEPSY? The release credits Funk Flex on "33 HRS", Martin Shkreli on "3.3%" and SNEAKO on "I GOTTA". ## References 1. SNVRK Wiki on Fandom (self-published by the subject). "SNVRKOLEPSY." https://snvrk.fandom.com/wiki/SNVRKOLEPSY 2. Spotify. "SNVRKOLEPSY — Album by SNVRK." https://open.spotify.com/album/0DxNw7GvwrYmoRsHgPpchr ## Related - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. - [33 HRS](https://wiki.snvrkotics.com/33-hrs): "33 HRS" is a song by SNVRK with Funk Flex, the lead single and opening track of the 2026 album SNVRKOLEPSY. - [3.3%](https://wiki.snvrkotics.com/3-3-percent): "3.3%" is the second track on SNVRK's 2026 album SNVRKOLEPSY, released with a title credit to Martin Shkreli. - [NYC Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm): The NYC Ticketstorm was SNVRK's June 6, 2026 stunt: mock parking-ticket envelopes on parked cars in Brooklyn, promoting SNVRKOLEPSY. - [SNVRK discography](https://wiki.snvrkotics.com/discography): The discography of SNVRK: the 2026 studio album SNVRKOLEPSY, the single "33 HRS", and an announced expanded edition, 33°. --- Cite as: "SNVRKOLEPSY." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/snvrkolepsy --- # SNVRKOTICS Also known as: SNVRKOTICS LLC, SNVRK > SNVRKOTICS is a rights and royalty platform for independent music, operated by SNVRKOTICS LLC, a Delaware limited liability company founded in 2024. It keeps an artist's catalog, split sheets that must total 100%, every distributor's royalty statement in one view and NVR.to release links in one account the artist owns. Source: https://wiki.snvrkotics.com/snvrkotics · Category: SNVRKOTICS · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Legal name:** SNVRKOTICS LLC - **Type:** Delaware limited liability company - **Founded:** 2024 - **Founder:** [SNVRK (Caleb Gottfried)](https://wiki.snvrkotics.com/snvrk) - **Address:** 8 The Green, Ste A, Dover, DE 19901 - **Website:** [snvrkotics.com](https://snvrkotics.com) ## Product SNVRKOTICS sells rights and royalty infrastructure to artists, labels and managers. Its core account holds: - a **catalog** of works and recordings, with [ISRC](https://wiki.snvrkotics.com/isrc), UPC and [ISWC](https://wiki.snvrkotics.com/iswc) validated on entry; - **[split sheets](https://wiki.snvrkotics.com/split-sheet)** for the master and the publishing, which must total exactly 100% before a payout can run; - **royalty statement import** from every [distributor](https://wiki.snvrkotics.com/music-distributor), matched to recordings by ISRC and consolidated into one report; - **payout runs** computed in whole cents and allocated by largest remainder, so the parts always sum to the amount received; - **[NVR.to](https://wiki.snvrkotics.com/nvr-to)** [smart links](https://wiki.snvrkotics.com/smart-link) for every release. There is a free plan; paid plans add capacity and features.[1] ## Divisions The company runs several products on their own hosts, each identified in its structured data as a sub-organization of SNVRKOTICS: SNVRKOTICS Sync, a [sync licensing](https://wiki.snvrkotics.com/synchronization-license) storefront; SNVRK IMAGES, editorial and commercial photography licensing; Notebook.exchange, a browser-based catalog valuation estimator; SNVRKOTICS Science, a research division; SNVRKOTICS Shop; NVR.news, a celebrity and creator news title; dripgraph, a linked-data style archive; and this wiki. ## What it is not SNVRKOTICS is not a distributor, a lender or a broker, and it does not schedule or publish posts to social platforms. The codebase began as a fork of a short-form video scheduler; that product was removed, and pages still describing it are out of date.[2] ## Questions ### What does SNVRKOTICS do? SNVRKOTICS keeps an independent artist's or label's catalog, split sheets, royalty statements, payouts and release links in one account the artist owns. ### Is SNVRKOTICS a distributor? No. It imports the statements an artist already receives from their distributors and reconciles them; it does not deliver releases to stores. ### Who owns SNVRKOTICS? It is operated by SNVRKOTICS LLC, a Delaware LLC founded in 2024 by Caleb Gottfried, who records as SNVRK. ### Is SNVRKOTICS free? There is a free plan with no card required; paid plans are listed on the pricing page. ## References 1. SNVRKOTICS. "About SNVRKOTICS." https://snvrkotics.com/about 2. SNVRKOTICS. "SNVRKOTICS — llms.txt." https://snvrkotics.com/llms.txt ## Related - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. - [NVR.to](https://wiki.snvrkotics.com/nvr-to): NVR.to is the smart-link service from SNVRKOTICS: one short link per release, routed by country, platform and referrer. - [Split sheet](https://wiki.snvrkotics.com/split-sheet): A split sheet is a signed record of who owns what percentage of a song or recording, agreed by every contributor and totaling 100%. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. - [Music distributor](https://wiki.snvrkotics.com/music-distributor): A music distributor delivers releases to streaming services and stores and passes the resulting master income back to the rights owner. --- Cite as: "SNVRKOTICS." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/snvrkotics --- # SoundExchange > SoundExchange is a nonprofit collective management organization, founded in 2003 and based in Washington, D.C., that collects digital performance royalties for sound recordings in the United States. It collects from non-interactive digital services such as satellite and internet radio under the statutory license and pays recording owners, featured artists and non-featured performers. Source: https://wiki.snvrkotics.com/soundexchange · Category: Royalties and collection · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Type:** Nonprofit - **Founded:** 2003 - **Headquarters:** Washington, D.C. - **Collects:** US digital performance royalties for recordings - **Statute:** [17 U.S.C. § 114](https://www.law.cornell.edu/uscode/text/17/114) - **Statutory split:** 50% rights owner · 45% featured artists · 5% non-featured performers ## What it collects US copyright law gives the owners of sound recordings a performance right limited to **digital audio transmissions**. For non-interactive services — satellite radio, internet radio, cable and satellite TV music channels — that right is subject to a **statutory license** with rates set by the Copyright Royalty Board, and SoundExchange is the collective that collects and distributes the money.[1][2] Interactive, on-demand streaming is licensed directly by labels and distributors and does not go through SoundExchange. ## How the money is divided The statute fixes the split of these royalties: **50%** to the owner of the [master recording](https://wiki.snvrkotics.com/master-recording), **45%** to the featured artists, and **5%** to non-featured musicians and vocalists, paid through a fund administered for the American Federation of Musicians and SAG-AFTRA.[1] Because featured artists are paid directly, an artist who does not own their masters still receives their 45% without it passing through their label. ## Registration Both rights owners and featured artists must register with SoundExchange to be paid, and recordings are matched by [ISRC](https://wiki.snvrkotics.com/isrc). Since the [Music Modernization Act](https://wiki.snvrkotics.com/music-modernization-act), producers, mixers and engineers can also be paid a share directly when the artist files a letter of direction.[2] ## Questions ### Is SoundExchange the same as a PRO? No. PROs collect performance royalties for compositions. SoundExchange collects digital performance royalties for sound recordings. A song played on internet radio earns both. ### Does SoundExchange collect from Spotify? Not for on-demand streams, which are licensed directly by labels and distributors. It collects from non-interactive services under the statutory license. ### Do independent artists need SoundExchange? Yes, if their recordings are played on US satellite or internet radio. A self-released artist should register both as the featured artist and as the rights owner. ## References 1. Legal Information Institute, Cornell Law School. "17 U.S. Code § 114 — Scope of exclusive rights in sound recordings." https://www.law.cornell.edu/uscode/text/17/114 2. SoundExchange. "SoundExchange." https://www.soundexchange.com/ ## Related - [Neighboring rights](https://wiki.snvrkotics.com/neighboring-rights): Neighboring rights pay performers and recording owners when sound recordings are broadcast or played in public, in countries that recognize them. - [Master recording](https://wiki.snvrkotics.com/master-recording): A master recording is the original fixed recording of a performance, and the separate copyright that protects that recording. - [Performing rights organization](https://wiki.snvrkotics.com/performing-rights-organization): A performing rights organization licenses the public performance of songs and pays the royalties to their songwriters and publishers. - [Music Modernization Act](https://wiki.snvrkotics.com/music-modernization-act): The Music Modernization Act is the 2018 US law that created the blanket mechanical license, The MLC, and protections for pre-1972 recordings. - [International Standard Recording Code](https://wiki.snvrkotics.com/isrc): The ISRC is a 12-character code, defined by ISO 3901, that identifies one specific sound recording or music video recording. --- Cite as: "SoundExchange." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/soundexchange --- # Split sheet Also known as: Songwriter split sheet, Split agreement > A split sheet is a short written agreement, signed by everyone who contributed to a song, that records each person's percentage of ownership. A publishing split divides the composition among its writers; a master split divides the recording among its owners. Each must total exactly 100%, and it is best signed at or soon after the session, before anyone's memory differs. Source: https://wiki.snvrkotics.com/split-sheet · Category: Rights and licensing · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Records:** Ownership percentages of a work or recording - **Must total:** 100% - **Signed by:** Every contributor - **Kinds:** Publishing split, master split - **Used for:** PRO and publisher registrations, royalty payouts ## What a split sheet contains A complete split sheet lists the **song title** and date, then for each contributor their **legal name**, **role**, **ownership percentage**, [performing rights organization](https://wiki.snvrkotics.com/performing-rights-organization) and IPI number, **publisher** if any, and **signature**. The percentages must add up to exactly 100. When the recording is also co-owned, a separate master split records those percentages — the people who own a song and the people who own a recording of it are often not the same. ## Why it matters Collecting societies pay according to the shares registered for a work. If co-writers register shares that add up to more than 100%, the work is typically held in dispute and paid to no one until the conflict is resolved. A split sheet signed by everyone is the evidence that resolves it. It is also the input to every later royalty payout: each statement line is divided according to it. ## When to sign it The norm is to agree splits **in the room** — at the end of the writing or recording session — while everyone's contribution is fresh and before the song has commercial value. Splits renegotiated after a song succeeds are far more contentious. Under US law, a song written by several people intending their contributions to merge into one whole is a *joint work*;[1] absent an agreement, its co-owners are generally presumed to hold equal shares, which is rarely what the room actually agreed. ## In practice at SNVRKOTICS SNVRKOTICS refuses to save a split sheet that does not total exactly 100%, keeps master and publishing splits separate, and allocates every payout run by largest remainder so no cent is lost to rounding. ## Questions ### How do you split a song with no agreement? Without a written agreement, default rules depend on the jurisdiction; in the United States co-writers of a joint work are generally presumed to own equal shares. That presumption is a reason to sign a split sheet, not a substitute for one. ### Is a split sheet legally binding? A signed split sheet is evidence of an agreement between the signatories and is generally treated as such. For significant deals, it is usually followed by fuller agreements. ### What is the difference between a master split and a publishing split? A publishing split divides ownership of the composition among its writers; a master split divides ownership of a specific recording among its owners, such as an artist and a producer. ## References 1. Legal Information Institute, Cornell Law School. "17 U.S. Code § 101 — Definitions (joint work)." https://www.law.cornell.edu/uscode/text/17/101 ## Related - [Music publishing](https://wiki.snvrkotics.com/music-publishing): Music publishing is the business of owning or administering song copyrights: registering works, licensing them and collecting songwriters' royalties. - [Master recording](https://wiki.snvrkotics.com/master-recording): A master recording is the original fixed recording of a performance, and the separate copyright that protects that recording. - [International Standard Musical Work Code](https://wiki.snvrkotics.com/iswc): The ISWC is an ISO 15707 identifier for a musical work — the composition itself, independent of any recording of it. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. --- Cite as: "Split sheet." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/split-sheet --- # Synchronization license Also known as: Sync license, Sync, Synchronization rights > A synchronization license, or sync license, is permission from a composition's copyright owners to use the song in timed relation to moving images, such as a film, TV show, advertisement, video game or online video. Using an existing recording also requires a separate master use license from the recording's owner. Sync fees are negotiated; there is no statutory rate. Source: https://wiki.snvrkotics.com/synchronization-license · Category: Rights and licensing · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Granted by:** [Composition owners (publishers and writers)](https://wiki.snvrkotics.com/music-publishing) - **Usually paired with:** [Master use license](https://wiki.snvrkotics.com/master-recording) - **Price:** Negotiated; no statutory rate - **Typical uses:** Film, TV, advertising, trailers, games, online video ## Two licenses for one placement Placing a commercially released song in a video normally takes two permissions. The **sync license** covers the composition and comes from its [publishers](https://wiki.snvrkotics.com/music-publishing), each of whom must agree if the song has several. The **master use license** covers the specific recording and comes from its owner — usually the label, or the artist if they own their [master](https://wiki.snvrkotics.com/master-recording). A production that re-records the song itself needs only the sync license. Both rest on the copyright owner's exclusive rights to reproduce the work and to prepare derivative works from it.[1] ## What a sync license specifies A sync license defines the **media** (for example broadcast, online or all media), the **territory**, the **term**, the **length and placement** of the use (background, featured, opening titles), whether the use is **exclusive**, and the **fee**. Because every one of those variables changes the price, there is no standard rate: a few seconds of background music in a student film and a worldwide television campaign for the same song can differ in price by several orders of magnitude. ## One-stop licensing A **one-stop** track is one where a single party controls both the composition and the master and can therefore grant both licenses in one agreement. Music supervisors working to deadlines favor one-stop catalogs because there is only one approval to obtain. ## Performance royalties after a placement The sync fee is paid up front. When the production is later broadcast or publicly performed, the composition also earns performance royalties, collected by the writers' [performing rights organizations](https://wiki.snvrkotics.com/performing-rights-organization) from broadcasters on the basis of cue sheets filed by the production. ## In practice at SNVRKOTICS SNVRKOTICS Sync, the company's licensing storefront at sync.snvrkotics.com, sells one-stop licenses for its catalog and issues the license document automatically when a purchase completes. ## Questions ### Do I need a sync license to use music in a YouTube video? Yes, to use copyrighted music in a video you need permission from the song's owners, and from the recording's owner if you use an existing recording, unless the music is licensed for that use some other way — for example through a production music library. ### How much does a sync license cost? There is no fixed price. Fees are negotiated and depend on the media, territory, term, prominence of the use and the song's profile. ### What is the difference between a sync license and a master use license? A sync license covers the composition and comes from the publishers; a master use license covers a specific recording and comes from its owner. Using an existing recording requires both. ## References 1. Legal Information Institute, Cornell Law School. "17 U.S. Code § 106 — Exclusive rights in copyrighted works." https://www.law.cornell.edu/uscode/text/17/106 ## Related - [Master recording](https://wiki.snvrkotics.com/master-recording): A master recording is the original fixed recording of a performance, and the separate copyright that protects that recording. - [Music publishing](https://wiki.snvrkotics.com/music-publishing): Music publishing is the business of owning or administering song copyrights: registering works, licensing them and collecting songwriters' royalties. - [Performing rights organization](https://wiki.snvrkotics.com/performing-rights-organization): A performing rights organization licenses the public performance of songs and pays the royalties to their songwriters and publishers. - [Music royalties](https://wiki.snvrkotics.com/music-royalties): Music royalties are payments to rights holders each time a song or recording is sold, streamed, performed, licensed or broadcast. --- Cite as: "Synchronization license." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/synchronization-license --- # The Treachery of Tickets > The Treachery of Tickets is a 2026 paper artwork by SNVRK: a replica New York City parking-ticket envelope whose face reads "THIS IS NOT A TICKET." Its title and conceit follow René Magritte's The Treachery of Images (1929). It was distributed as the NYC Ticketstorm on June 6, 2026, in an edition SNVRK puts at 100,000 cards of 7.5 by 5.5 inches. Source: https://wiki.snvrkotics.com/the-treachery-of-tickets · Category: SNVRK Wiki · Last reviewed: 2026-10-02 · License: CC BY 4.0 ## Key facts - **Artist:** [SNVRK](https://wiki.snvrkotics.com/snvrk) - **Year:** 2026 - **Medium:** Cardstock - **Dimensions:** 7.5 × 5.5 in - **Edition:** About 100,000 (per SNVRK) - **Shown:** [NYC Ticketstorm, June 6, 2026](https://wiki.snvrkotics.com/nyc-ticketstorm) ## Overview The work reproduces a New York City parking-ticket envelope closely enough to be mistaken for one, with a single change: the face reads, in bold white type, **"THIS IS NOT A TICKET."** SNVRK distributed it himself in the early hours of June 6, 2026, as the [NYC Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm), leaving it on the windshields of parked cars in Brooklyn Heights, DUMBO and Boerum Hill.[1] ## Influence and intent The title and the denial printed on the object follow René Magritte's *The Treachery of Images* (1929), the painting of a pipe captioned "Ceci n'est pas une pipe." SNVRK has described the aim as provoking the reflexive dread of a fine and then undoing it with the text — and, at the scale of a neighborhood, turning streets into a temporary gallery while promoting *[SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy)*.[1] ## Questions ### What does The Treachery of Tickets say? "THIS IS NOT A TICKET." ### What is it based on? René Magritte's The Treachery of Images (1929), whose pipe is captioned "Ceci n'est pas une pipe." ## References 1. SNVRK Wiki on Fandom (self-published by the subject). "The Treachery of Tickets." https://snvrk.fandom.com/wiki/The_Treachery_of_Tickets ## Related - [NYC Ticketstorm](https://wiki.snvrkotics.com/nyc-ticketstorm): The NYC Ticketstorm was SNVRK's June 6, 2026 stunt: mock parking-ticket envelopes on parked cars in Brooklyn, promoting SNVRKOLEPSY. - [SNVRKOLEPSY](https://wiki.snvrkotics.com/snvrkolepsy): SNVRKOLEPSY is the 11-track debut studio album by SNVRK, released through SNVRKOTICS on June 5, 2026. - [SNVRK](https://wiki.snvrkotics.com/snvrk): SNVRK (Caleb Gottfried, born 2006) is an American experimental artist from Brooklyn and the founder of SNVRKOTICS. --- Cite as: "The Treachery of Tickets." SNVRKOTICS Wiki, 2026-10-02. https://wiki.snvrkotics.com/the-treachery-of-tickets