Your music. Your rights.
Our power.

We are an independent music rights company in Amsterdam. We publish music (media music and songs), run rights and catalogue administration, including sub-publishing for international publishers, neighbouring rights and distribution, and license music for brands and productions. Behind all of it sits one thing: collecting what your music earns, worldwide.

It depends on the partnership, and you choose. Under administration you keep full ownership and we run the operational side. In publishing and co-publishing CPI takes part in the publishing rights and invests in the repertoire with you. As a sub-publisher we represent your catalogue locally. Before anything is signed we spell out which rights move, for which territory and for how long.

Copyright pays the people who wrote a song: songwriters, composers and publishers. Neighbouring rights pay the people who recorded it, performing artists, musicians and the master owner, whenever that recording is broadcast or played in public. They are collected by different societies (in the Netherlands, Buma/Stemra and Sena), which is exactly why so much neighbouring-rights money goes unclaimed. We collect both.

Three ways. We are a direct member of more and more societies, so there is no sister society or sub-publisher taking a share on the way. Royalty Power, our own platform, detects where your music was used and compares that with what was actually paid. And every gap becomes a claim, including back-claims over previous years, as far as each society's rules allow.

Registration is fast; societies are not. They pay out on fixed cycles, usually months after the music was used. We pass it on with a clear statement every quarter, and in MyCPI you can follow your works, registrations and statements in real time. Back-claims can reach further back, but most societies cap how far, so starting now beats starting next year.

In MyCPI, our client portal, you see per title where we registered it and whether each society accepted it, both your copyright and your neighbouring rights, and how we registered your work. You also see your next payment, your statements and your self-billing invoices, we pay directly into your bank account. We are also exploring a way to register new titles yourself.

For publishing and administration you pay a percentage of what we actually collect, agreed up front, so we only earn when you do, and our monitoring and claims usually earn that percentage back. For sync we negotiate a fair fee on scope, term and territory. Tell us about your catalogue or project and you get a clear proposal before you commit to anything.

Yes, for TV and online commercials, YouTube, TikTok, social and events. A sync licence usually needs two permissions: the composition and the recording. We go straight to the publisher and label, negotiate both, check the contract and put every platform in writing. Short on time or budget? Liberry tracks are cleared in advance, so they can be licensed the same day.

Yes. We check every artist deal on fee and terms before anyone signs, arrange distribution to Spotify and the other DSPs through our partners, make sure the brand may use the recording, and handle cue sheets and payouts afterwards. That is how Albert Heijn's “Klinkt Als Weekend” reached the commercial and Spotify at the same time.

That is sub-publishing, and yes. We register your works locally, collect and control the royalties, pursue historical claims and actively pitch the catalogue for sync, with transparent reporting through Royalty Power and MyCPI. See where we are connected on our Global reach page.