Show HN:查询美国机械许可协会(The MLC)那 6.56 亿美元的无人认领版税中是否有属于你的款项
Show HN: Check if any of the $656M in unclaimed royalties at The MLC is yours

原始链接: https://pub.doub.ly/

自 2027 年初起,机械许可集体 (MLC) 将开始根据出版商和词曲作者现有的市场份额,分配已累计且无人认领的版税。这些分配将按时间顺序进行,从最早的月份开始。一旦某个月份的版税分配完毕,该部分款项将永久无法追回。 虽然认领作品的机会长期有效,但若不立即核对您的作品,意味着您将失去此后每一个月应得的版税。 关于所提供的版税预估:这些数字代表的是数量级,而非精确的发票。其计算方式是先估算美国境内的总流媒体播放量,再将机械版税率应用于目前尚未被认领或核对的版税部分。该模型结合了内部使用数据与 MLC 自身的估值指标(以较高者为准),以兼顾高流量录音作品和小众录音作品。由于这些数字基于行业平均水平,因此应将其视为预估值,并存在约 35% 的潜在误差幅度。建议用户确保立即核对作品,以确保获得即将发放的版税份额。

一家独立出版商推出了一款无需注册的免费工具 (doub.ly),旨在帮助音乐人认领“机械许可集体”(The MLC)持有的 6.56 亿美元“黑箱”版税。 根据 2018 年颁布的《音乐现代化法案》,MLC 负责为词曲作者代收机械版税。然而,如果歌曲未登记或存在元数据问题,这些版税就会处于无人认领的状态。从 2027 年 1 月起,MLC 将被法律要求通过“市场份额”机制分配这些无人认领的资金,这意味着钱款实际上会被转移给大型出版商,而非原始创作者。 该工具允许用户输入 Spotify 艺人链接,将其作品集与 MLC 的公开数据库进行比对,识别出哪些曲目尚未登记或匹配,并提供直接链接以解决相关问题。开发者强调,这一举措旨在提供一种自助式资源,帮助独立艺人在重新分配流程开始前保障自己的收益。
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原文

Because it does not sit at The MLC forever. Starting in early 2027 they begin distributing accrued royalties that were never matched or claimed, by market share, splitting them among the publishers and writers already collecting in proportion to what they already earn.

It goes out oldest usage month first, and once a month has been distributed it is gone. Claiming and matching stay open indefinitely, so anything you fix now protects every month not yet paid out, but each month that passes with your name missing from a recording is a month of its royalties handed to somebody else. The MLC's own explanation ↗

How we size it. We take your Spotify stream count, estimate what that means across all services, take the US portion, and multiply by the US mechanical rate. Then we keep only the part that is actually exposed. Usually that is the unclaimed percentage of the work. Where the work is fully claimed but the MLC never matched Spotify's own copy of the recording to it, the money behind those plays has nowhere to go either, so none of it is discounted.

The per-stream rate is measured from MLC distributions and historical CRB Phonorecords rates. We checked it against catalogs we administer, where the rate implied by actual payments came out around half the headline figure, so we use the measured one instead.

The MLC also publishes its own ranking of what each unmatched recording is worth, and we read that too. Where their figure is larger than ours, we use theirs. We never add the two together, because they are two estimates of the same money rather than two piles of it. This mostly shows up on quieter recordings, where a handful of streams tells us very little and The MLC is holding real money anyway, and on recordings we have no stream count for at all.

It is a range rather than a single number, give or take 35%, because every other input is an industry average rather than something we measured for you. A trailing plus sign means the top of the range is open-ended: The MLC's highest band has no ceiling, so we cannot name one either. Treat it as an order of magnitude, not an invoice.

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