The ToolkitGet paid for your songs
Song metadata sheet
Metadata is what travels with a song so people can pay you, license it and credit you. Fill in one page per song and keep your whole catalog in one place.
Your songs
What printsOne page per song
We check whether your songs are paying you.
The paid Royalty & Revenue Review looks inside your own accounts and ends in a written plan. Getting a song placed in TV, film or an ad is called sync licensing, and our Sync-Licensing Prep ($497) gets your files and paperwork ready to pitch.
- Royalty & Revenue Review $297
We go through your accounts, find what isn't set up to pay you, and give you the fixes in order. Not accounting, and not collecting money for you. We never promise a dollar amount.
See what's in it
Not sure what you need? A 30-minute call (opens in a new tab) costs $49, and the fee comes off any project you book within 30 days. Flat fees, never a percentage of what you earn. No one can promise your song will be used, and we don't.
Why one page per song
Every place a song earns money asks for the same handful of facts: who wrote it and how it's split, who owns the recording, and the codes that tie it all together. When those facts live in five different accounts, they drift. A song gets registered with one title in one place and a different spelling in another, and the money stops finding you. Write them down once, here, and copy from this page every time.
The three codes
- ISRC: the recording. Each recording gets its own. A remix or an edit is a new recording and gets a new one; the same recording keeps its ISRC on a single and on the album. Many distributors will assign ISRCs when you upload (ask yours how they do it), and in the US you can also get your own through the US ISRC Agency (opens in a new tab).
- ISWC: the song. It identifies the composition, the words and music, not any one recording of it. You can't make one yourself: it is assigned when the song is registered, through your PRO or another collecting society. If you don't have one yet, register the song first. How ISWCs are assigned (opens in a new tab).
- UPC: the release. The barcode for the single, EP or album as a product. A single and the album it later appears on each have their own. Ask your distributor whether it supplies one.
What music supervisors ask for
Music supervisors are the people who choose music for TV, film and ads. They work to deadlines, so the easiest song to clear often wins. Expect them to ask who controls the recording and the song, whether one person can say yes to both, whether there are uncleared samples, and whether you have an instrumental and a clean version ready. File requirements vary by project, so ask for theirs before you send anything.
Questions
What's the difference between an ISRC and an ISWC?
An ISRC identifies a recording. An ISWC identifies the song itself, the composition. One song can have many recordings, each with its own ISRC, and still have one ISWC.
Where do I find my ISRC?
In your distributor's dashboard, on the release's track details. If you assigned your own through the US ISRC Agency, it's in your records there.
Why don't I have an ISWC?
ISWCs are only assigned once the song is registered with a collecting society, such as your PRO, and every writer on it can be identified. Register the song with your PRO using the same shares as your split sheet.
What does "one person can approve a license" mean?
A license for TV, film or an ad needs a yes for the recording and a yes for the song. If one person or company controls both, a supervisor can clear the song with one conversation. That's often called one-stop.
Where is what I type stored?
Only in your browser, on this device. Nothing you type is sent to Well Made Plays or anyone else. Download the CSV to keep a copy somewhere else.
Last reviewed October 8, 2026