International Association of Music Publishers

A division of Audiam

Getting Publishers Paid accurately and on time for the
digital use of their compositions.

Our Mission

Getting Publishers Paid Accurately and On Time for the
Digital Use of Compositions.

Our Clients

  • Creeping Death (Metallica)
  • Three Pounds of Love Music, Wagging Dog Tail Music, Al Herbert Music, Avanails Publishing, Niandra La, Des Music, Tear Of A Tiger Music publishing
    (Red Hot Chili Peppers)
  • Black River Music Publishing
  • Goo Eyed Music publishing (Jason Mraz)
  • Another Victory Music Publishing (Victory Records publishing catalog)
  • Harry Merkin Music (Maynard Keenan of Puscifer, A Perfect Circle)
  • Silva Music Publishing
  • Wild Gator Music (Mike Campbell, co-writer Tom Petty)
  • House of Hassle Music Publishing
  • Dean and Britta (Dean Wareham of Galaxy 500/Luna)
  • Ruthless Attack, Dollarz N Sense (Ruthless Records Publishing)
  • Pretty Lights Music, 8 Minutes 20 Seconds Records (Pretty Lights Publishing)
  • Juan Rodriguez Music Publishing (Tercer Cielo)
  • Earache Songs (Earache Records Publishing)
  • Mothership Publishing
  • Fig Music Publishing (Epitaph Records Publishing)
  • 8 Minutes 20 Seconds Publishing (Pretty Lights)
  • Lost Toy People music publishing (Thomas Dolby)
  • G360 Publishing
  • Four Seasons Partnership (Franki Valli & The Four Seasons)
  • SyVy Publishing (Steve Vai)

And many more


Music is used to sell: hardware, phones, software, subscriptions as well as increase market share or grow the value of the companies that use it.

In return, we are asking for the music publisher to be paid on time and accurately

This is not, and has not, been happening.

Each month for the past 10 years, 15% - 30% of the money owed for interactive streaming mechanicals is not paid out or paid on time due to mapping or other technical issues.

Of the money that is paid out, approximately 5% - 12% of it is being paid to the wrong publisher and/or has the wrong songwriter splits.

There is not transparency into the un-administered funds nor is there transparency into who is getting paid what.

This needs to change. It is our mission to change it.


  • Schedule deal
  • Terminate at will with 30 days notice
  • No post Term collection
  • 20% off Audiam service fee
  • Pick and choose Territories
  • Pick and choose digital services for direct licensing
  • Monthly accounting with direct deposit
  • Location of unidentified versions of sound recordings and metadata identifiers
  • Identification and collection of earned but unpaid mechanicals and/or other misappropriated revenue
  • Detailed Accounting Statements:
    Archived, downloadable (PDF, .csv)
  • Metadata discovery and inclusion of new:
    ISRCs, digital service identifiers and other data points
  • Updated and cleaned composition metadata including all new ISRCs etc available in electronic format to re-purpose however you like (i.e. send to foreign PROs etc)
  • Legal enforcement and policing of copyright use in the digital services
  • Dedicated service representative
  • Weekly YouTube claims reports listing videos using your music along with view count, live date and a link to view
  • A collective voice on behalf of independent music publishers

Apply To Join


  • Must be a music publisher with administration rights
  • Must have a catalog of at least 75 compositions
  • Must have metadata with songwriter splits (if any)

Please fill out The Apply To Join IAMP form
Optional upload of CWR, .CSV or .XLS file with compositions metadata.

NOTE: Filling out the Join Now form does NOT assign IAMP any rights.

Upon receipt we will review and respond within one business day.

If you like, we can provide a FREE diligence report of of bad/wrong data in digital services stopping you from getting paid.

A physical agreement will be provided requiring signatures before IAMP can go to work for you.

Any questions please feel free to email us at:

For less than 75 compositions please
sign up at Audiam.com.


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Apply To Join


  • Must be a music publisher with administration rights
  • Must have a catalog of at least 75 compositions
  • Must have metadata with songwriter splits (if any)
Fill out my online form.
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What Exactly Does IAMP Do?

IAMP gets Music publishers paid their mechanical royalties accurately for the digital use of their compositions as well as identifying and recovering past earned but unpaid mechanicals.

It also gets Music publisher accurately paid for the use of their compositions in YouTube.

What Are Examples of Digital Uses Of Compositions That Generate Mechanicals?

  • Interactive streams (i.e. Spotify, Rhapsody, Beats, Google Play, Amazon Prime etc)
  • Scan & Match lockers (i.e. Amazon Scan & Match, Google Scan & Match, iTunes Match)
  • Ringtones/Ringback-Tones
  • Bundle deals (i.e. Yonder)
  • Digital Jukeboxes (i.e. TouchTunes)
  • Other Digital Transmissions (i.e. require more than the right of public performance)

In The US, The Compulsory License Requires The Interactive Music Service to Pay Publishers Mechanicals Directly, What Do We Need IAMP For?

IAMP has found almost all music publishers are not being paid on time or accurately. In addition, many royalties are not paid at all.

The US based mechanical royalty system for paying publishers mechanical royalties from interactive streams appears to be broken and does not work.

Each month, the digital services provide a list of every stream of a sound recording that occurred in the digital music service in a month to a third party company to administer the mechanical royalties. This list of sound recordings is called a "Usage Log."

The third party company must:

  • Match the sound recording to the composition
  • Match the composition to the publishing administrator
  • Have a name, address and other contact information for the publisher
  • Run the royalty formula
  • Provide the statements and the interactive mechanical royalty 
payments to the music publisher administrator on time

In almost all cases these third party companies are only able to match/map and pay Interactive Streaming Mechanical royalties on 70% to 85% of the sound recordings in the interactive music service’s usage log.

This means each month, 10% to 30% of the money owed to publishers for Interactive Streaming Mechanical royalties has never been paid out.

In addition, for the money being paid out, it is not clear if the right publisher is being paid.

How Much Earned But Unpaid Money Is Sitting Out There Right Now For Music Publishers?

IAMP estimates the amount of misallocated or unpaid revenue over the past 12 years from streaming services around the globe is over $100 million.

How Does IAMP Fix This Problem?

IAMP created and built its own systems to fix the problems that are stopping music publishers from getting paid on time and accurately.

The systems:

  • Locate sound recordings, their ISRC and other identifiers, of your compositions
  • Clean and update your metadata with ISRCs and other identifiers
  • Update the databases of the digital services via automated technology systems
  • Monitor the digital services to assure they are following the Terms of the license
  • Audit statements whenever possible

As one example, in the month of Oct, 2014, we recovered over $50,000 in previously generated interactive streaming mechanicals for the years of 2007, 2008, 2009, 2010 2011, 2012 and 2013.

In the United States, Don’t Music Publishers Get Paid Streaming Mechanical Royalties Directly by the label or Distributor?

No. In the US, Labels and distributors pay mechanical royalties for DOWNLOADS ONLY.

The law requires interactive streaming services to pay the publisher/publishing administrator directly for mechanicals from interactive streams.

My Compositions Have Been Available In Stores For Years And I Have Never Received A Mechanical Royalty Payment Or They Have Been Inaccurate. Can I Get Back Payments?

Yes. A large part of IAMP’s mission is to uncover and collect your previously unpaid royalties.

Will I Have Access to the Cleaned Up Metadata IAMP Creates?

Yes. We do the work but it’s your data.

At your request, IAMP will provide you a set of your updated and cleaned metadata for you to re-use however you like.

The metadata for each composition will usually contain:

  • composition name
  • % controlled
  • songwriter
  • publisher
  • publishing administrator
  • ISWC
  • a large number of found ISRCs of sound recordings

Why Does Metadata Matter?

Bad data in YouTube and other digital services stop you from being paid, paid the right amount or pays the wrong publisher.  

IAMP systems monitor YouTube and other digital music services and identify when compositions stop monetizing due to bad data.  

We then fix the problem to get your money flowing again and monitor the services on an ongoing basis.

We also locate "clones" or duplicate compositions in these systems and assure they have the proper ownership and writer splits on them so they monetize for you as well.

I Am a Non-US Based Publisher, Can IAMP work for Me?

Yes. If you are a non US based publishers, chances are you either have not been paid your mechanicals or have only been paid a portion of them.

IAMP can work for you to get them.

Does IAMP Administer or Issues Licenses for Mechanicals for Physical Reproduction?


Does IAMP Administer or Issues Licenses for Mechanicals for Downloads (DPD)?

No. In the US you should already be receiving mechanicals from downloads.

IAMP can be hired at your discretion to get your mechanicals from downloads outside of the US

What If I Am Already Affiliated with a Mechanical Royalty Collection Agency?

If you are already affiliated with a collection agency, then IAMP cannot work for you in the territories that collection agency already represents on your behalf.

Does IAMP Touch Any our Public Performance Revenue?

No. There is no conflict or overlap. We don’t touch the money they collect for you and they don’t touch the money we collect for you.

Is IAMP a Publishing Administrator?

No, IAMP is hired by publishers and publishing administrators to work for them.

We work for you.


Team Investors

Jeff Price

CEO and Founder, Audiam

Founder, TuneCore
President/GM/Co-founder, spinART Records

On January 26th, 2006, Jeff Price launched TuneCore. Its mission: to change the music industry and provide ALL artists access to distribute their music into the world’s largest digital music stores while keeping their rights and get 100% of the money when their music sold.

Over the next six years, Jeff built TuneCore into the world’s largest music distribution and publishing administration entity. Its’ customers, the artist, sold over 700,000,000 units of music within three years generating over $500,000,000 in Gross music sales. As of July, 2012, TuneCore represented over 5% of all digital music sales revenue in the United States making it 75% the size of EMI and 35% the size of Universal Music.

Jeff is also co-founder and was GM / President of the New York based independent record label spinART records (Pixies, Echo & The Bunnymen, Apples In Stereo, Richard Thompson etc) for seventeen years.

He got into the digital music space in 1998 when he worked with EMusic serving first as a consultant, next as interim VP of Content Acquisition and finally as the Senior Director of Music/Business Development.

In 2012, he left TuneCore and consulted for the Canadian performing rights organization SOCAN.

With the launch of Audiam and IAMP, Jeff is continuing his mission in life of making sure artists, songwriters and labels get paid everything they are owed for the use of their music.

David C. Willen

CTO and co-Founder, Audiam

CTO, TuneCore

David C. Willen is Audiam's and IAMP's Chief Technology Officer. In this role, he leads all software development, systems engineering, and design for Audiam technologies.

A rockstar engineer, David has provided technology leadership for both start-ups and large enterprises. In addition to CTO at TuneCore, he has served as the Chief Web Architect at Avon Products, and as the CTO of TheStreet.com and Barnes & Noble.com

David is a recognized expert in the design and development of software, hardware, and high-volume distributed systems in both traditional and cloud environments. In addition to leading technology teams he enjoys studying and teaching engineering disciplines, and is the author of several books on microprocessor-based systems design and programming. David has both BS and MS in Electrical Engineering from Polytechnic University.

Euvin Weeber

General Manager

Euvin’s entire career has been based on helping artists navigate the many trials of the music industry.

Jeff Price and Euvin worked together in the 90’s at Jeff’s label spinART Records.

Weeber previously ran Mister E Management, a full service artist management company whose roster included the New Pornographers and others. Prior to that he worked at Beggars Group US as National Sales Director and Product Manager. While there Weeber worked directly with M.I.A., The Pixies, The Strokes, The National, Blonde Redhead, Guided By Voices, Super Furry Animals, Badly Drawn Boy and more. Weeber was also General Manager of the World's Fair Label Group working with such labels as Daptone Records (Sharon Jones and The Dap Kings, Budos Band), Rough Trade (Jarvis Cocker), Bella Union (Midlake), Definitive Jux (El-P, Aesop Rock), and also worked with artists directly like The Dandy Warhols, and the Secret Machines. Prior to Worlds Fair Weeber also spent time as National Sales Director for Price's independent record label spinART Records.

Weeber has spent the last six months independent consulting for Audiam and IAMP and was key in forging relationships with recent Audiam/IAMP clients Pretty Lights, House of Hassle Publishing (Future Islands, The War On Drugs, Grizzly Bear, Destroyer), C3 Management (Dismemberment Plan, J Roddy Walston and The Business), Nettwerk Management (Guster, Dispatch, Alexi Murdoch), Dean and Britta, Basia Bulat and more.

Tom Cohen

Strategic Partnerships, M&A and Finance

Tom has for the past 20 years advised a variety of companies, in both the traditional and New Media worlds, on financial and strategic matters. Tom has also served as a Special Venture Partner with Flatiron Partners, a leading Internet-focused venture capital fund and a predecessor to Union Square Ventures.


Investors and owners of Audiam include:

Jason Mraz (Grammy award winning multi-platinum selling Artist/Songwriter) 

Brett Gurewitz (founder/owner of Epitaph and Anti- Records. Co-Founder of and songwriter for Bad Religion)

Jimmy Buffett (multi-platinum selling Artist/Songwriter, entrepreneur, writer and songwriter)

Bill Silva (manager, concert promoter, music publisher)

GSO Business Group (top business L.A.-based management firm specializing in music, film/television and sports Industries)

Jonathan Siegel (software engineer and leading advisor to mobile and cloud companies)

David Willen (author and recognized leader in cloud architecture, CTO Barnes&Noble.com, CTO TheStreet.com, software architect Dun & Bradstreet)

Scott Schreer (multiple BMI-award winning composer, CEO global digital music fingerprinting company TuneSat, NFL on Fox Composer/Producer)

Marc Geiger (Head of William Morris Endeavor's music division, Ex-Vice Chairman and President ARTISTdirect Inc.)

Chris Woods: (COO TuneSat, composer, musician, producer and engineer. He’s created music branding packages for numerous television networks)

Jeff Price (Co-Founder spinART Records, Founder and former CEO TuneCore)


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