Our Vision ★ Web3Music.com: The Future of Music is Web3

The problem

Most of what is written about decentralized music, NFTs and artist royalties is written by someone who is paid
when you act. The tone is confident, the sourcing is thin, and the part that
would cost you money is the part that gets left out.

We are interested in what actually works. When something does not work, we
say so, including when saying so costs us a placement.

What this site is

Web3 Music is part of the Brego Network: independent, research-driven guides
to decentralized music, NFTs and artist royalties. Every claim carries a source. Every affiliate relationship is
disclosed on the page where it appears, every time.

Human visitors are always free. There is no metered paywall and there will
not be one.

Partner terms

We take advertisers who would survive their own product being reviewed
honestly here. That is the whole test.

Every affiliate link is disclosed, on the page, every time.
Partner links route through our own tracking so we can see what is real.
One partner card per page. Never two.
A placement we would not click ourselves does not run.

What we will not do

No countdown timers, manufactured scarcity or urgency language.
No AI-generated filler presented as reporting.
No placement that requires hiding what it is.
No claim without a source a reader can check.

Corrections

If something here is wrong, tell us and we will fix it in public, with a
dated note and the original wording left intact. Quietly editing an error out
is the thing we say we do not do.

Start with the primer ·
Contact us

Web3 Music, in six steps

Six short steps. Track what you finish.

0 of 6 complete

A stream pays fractions of a cent, and it is split before the artist sees it. Label, distributor, publisher and platform all take a cut first. Most artists are not underpaid by one villain. They are underpaid by a chain of intermediaries, each taking a reasonable-looking share.

Payout per stream is what the platform pays the rights holder, not what the artist receives.

There is no single royalty. A recording has one set of rights and the underlying song has another. The same play can generate a master royalty and a publishing royalty, owned by different people, paid on different schedules.

Master rights cover the specific recording. Publishing rights cover the composition itself.

A ledger is good at one thing: recording who owns what, publicly, in a way nobody can quietly rewrite. That solves a real problem, because rights ownership is currently tracked in private databases that disagree with each other. It does not make anyone listen to your music.

On-chain means the record lives on a public ledger rather than in a company's private database.

Most Web3 music projects sold speculation, not distribution. An NFT that promises royalty share is a security in most jurisdictions, whatever it is called on the website. Projects that could not say plainly where the revenue came from generally had no revenue.

Speculative token is any asset whose value depends on the next buyer rather than on income it produces.

Ask three questions of any platform. Who holds the master rights after I upload. Where does the money come from, in one sentence, without the word ecosystem. Can I leave and take my catalogue with me. A platform that cannot answer all three plainly has answered you.

Rights reversion is your ability to take your catalogue back and leave.

Register your works with a performing rights organisation before anything else. It is free or near-free, it is the mechanism that actually pays, and it works whether or not any of this technology succeeds. Everything else is optional until that is done.

PRO is a performing rights organisation. In the US: ASCAP, BMI, SESAC.

Educational only. Nothing here is investment advice. Some links may be affiliate links, disclosed on every page.