The Song Post.
Scoring & placement/Soundscape Media Inc.

Soundscape — non-exclusive representation for film, TV and advertising.

with Soundscape Media Inc. — an Ontario-registered company whose complete Song/Master Representation Agreement is published unauthenticated as a signable PDF, with the brands and networks it says it has placed music with named on its own submissions page — Absolut, Intel, Nestlé, CBS, NBC, HBO, National Geographic and Miller Lite · listed Aug 13Verified · Aug 13
Closes
Rolling
Rolling — no deadline pressure
To enter
Free
“our representation services are free of charge”, and no fee appears anywhere in the published agreement
It pays
No cash up front — 50% of all Net Receipts Soundscape actually collects on your music
plus 100% of the writer’s share of performance royalties paid to you direct by your PRO
Your rights
A non-exclusive license, limited to licensing your compositions and masters to media productions worldwide, for a three-year term that renews yearly unless either side gives 60 days’ notice; it reverts once the term ends — Section 2(1).
A heads-up: Section 7(2)(b) uses perpetual/irrevocable licensing language over the song, regardless of any separate ownership disclaimer — scope, duration and revocability decide, not the disclaimer.
A publicity-rights note: Section 2(4) grants Soundscape Media Inc. the right to use your name, likeness and photographs in connection with the rights it licenses — a publicity-rights grant, and a separate question from what happens to the song.

A music-licensing agency that publishes the whole contract before you sign anything — which, in the sourcing sweep behind this desk, two of roughly twenty-five libraries did. There is no window and no deadline: the submission form is open all year, which is why this card carries a rolling state rather than a date. Submitting costs nothing, and the FAQ answers the question in the same words the agreement does: “Unlike some other music licensing services our representation services are free of charge.”

The pay is a share, not a fee, and the agreement states it as a number: 50% of all Net Receipts Soundscape actually collects on your music. Two details sit either side of that. You receive 100% of the writer’s share of performance royalties, paid to you directly by your own PRO rather than through Soundscape — and Soundscape collects and keeps 100% of the publisher’s share of the same royalties. Both halves are in Section 3(2)(b), and only the first half tends to appear in a library’s marketing.

The rights line is generated from the grant, and the grant is bounded in the way the good ones are: non-exclusive, for a three-year term that renews yearly unless either side gives 60 days’ notice, with everything reverting to you when the term ends. Two clauses qualify that reversion, and this card names them rather than leaving them to the PDF. Section 7(2)(b) keeps Soundscape’s right to collect money in perpetuity on any licence it started during the term — normal in this trade, and still perpetual. Section 8(7) states that a breach by Soundscape gives the composer no right to rescind the agreement, only to sue for money. Neither is hidden; both are worth reading before the automated version of this contract arrives at the end of the upload flow.

The record
Source
Soundscape’s submissions page, its artist FAQ and the complete Song/Master Representation Agreement it publishes as an unauthenticated PDF (soundscape.io/ComposerNonExclusiveSample.pdf), all captured August 13, 2026.
What it costs
Nothing. “Absolutely not. Unlike some other music licensing services our representation services are free of charge.” No fee, retainer or submission charge appears anywhere in the published agreement. Captured August 13, 2026.
What it pays
Section 3(2)(a): “Soundscape shall pay to Composer a sum equal to 50% of all Net Receipts actually received by Soundscape.” Section 3(2)(b): the composer receives 100% of the writer’s share of public performance royalties directly from their own PRO, and Soundscape “shall be entitled to collect and retain 100% of the publisher’s share”. There is no advance, no minimum and no guaranteed placement anywhere in the agreement — the money is contingent on a licence being sold.
The deadline
There isn’t one. The submission form is open with no stated window, no closing date and no announced round, so this listing runs in the rolling state rather than carrying a manufactured date.
Rights, plainly
Section 2(1) grants a non-exclusive right to license, sub-license and synchronize the compositions “during the Term”. Section 7(1) sets that term at three years, automatically renewing for one-year periods unless either side gives 60 days’ notice. Section 7(2) reverts all rights on expiry — with the carve-out below. Section 2(2) uses the words “grants and assigns”, and what it grants and assigns is “the non-exclusive right… to use, exploit, and otherwise deal in” the masters, not ownership of them; the notes page states plainly that “You will maintain all ownership and the copyright of your music.”
The reversion’s carve-out
Section 7(2)(b): “Soundscape shall retain the right in perpetuity to collect any and all gross monies… with respect to the Compositions and/or Masters which are earned during the Term or which are earned after the Term from uses or exploitations first initiated by Soundscape or its licensees during the Term.” Rights come back; the money on licences already placed keeps flowing through Soundscape, which continues to account and pay the composer’s share.
If they breach it
Section 8(7): the composer’s sole remedy is money damages, and “Composer shall have no right by reason of any such breach or alleged breach to rescind this Agreement or to any equitable or injunctive relief.” Worth knowing before signing, and not the kind of clause a marketing page mentions.
Exclusive or not
This card is the non-exclusive agreement, which is the one published in full. The FAQ says an exclusive option also exists, with priority promotion attached to it — a different contract, and not the one summarized here.
more from this desk
Scoring & placement

Tribe of Noise — non-exclusive licensing at 42.5%

with Tribe of Noise BV
Closes
Rolling
Rolling — no deadline pressure
Entry
Free to upload
It pays
No cash up front — 42.5% of every licence fee Tribe of Noise collects on your music, with 42.5% to the platform and 15% held back against transaction costs
The license has no stated end date — Section 9.1.
A heads-up: Section 9.1 takes a licence over what you send and never states how long it lasts. Scope, duration and revocability are what a licence means — an ownership disclaimer standing next to it settles none of them, so this is the question to put to Tribe of Noise BV in writing before you enter.
Verified · Aug 13The record
Scoring & placement

Audiosocket — non-exclusive representation at 25% of the fee

with Audiosocket
Closes
Rolling
Rolling — no deadline pressure
Entry
Free to submit
It pays
No cash up front — on the non-exclusive roster, 25% of the upfront licensing fee plus 100% of the writer’s share of royalties; the other 75% of the fee and the publishing royalties are commissioned by the platform
The license has no stated end date — the artist-registration page (captured August 14, 2026).
A heads-up: the artist-registration page (captured August 14, 2026) takes a licence over what you send and never states how long it lasts. Scope, duration and revocability are what a licence means — an ownership disclaimer standing next to it settles none of them, so this is the question to put to Audiosocket in writing before you enter.
Verified · Aug 14The record