WHAT IS BRIDGER?
Unlock the missing part of your music royalties and earn more from your creations with Bridger.
Bridger is a platform that helps songwriters, beatmakers, topliners, and music composers collect copyright royalties generated from online and offline uses worldwide, depending on rights and territories.
- Free to use : No registration or annual fees. Keep 90% of your earnings.
- Simple & fast : Sign up and register your works in just a few minutes. Our interface explains complex music industry terms in plain language.
- Earn more : Many songwriters don’t realize that distribution only covers part of their royalties. Bridger collects the missing copyright royalties across online and offline uses worldwide, helping you maximize your earnings.
Bridger also provides free educational resources so you can better understand the music industry, make informed decisions, and grow your career.
WHO IS BRIDGER FOR?
Bridger is designed for anyone involved in creating music:
- Songwriters
- Beatmakers
- Topliners
- Music producers
Whether you create solo or collaborate with others, Bridger lets you start collecting additional copyright revenue from online and offline uses in just a few minutes, in addition to what your distributor already collects.
HOW IS BRIDGER DIFFERENT FROM MY DISTRIBUTOR?
A digital distributor (such as DistroKid, TuneCore, CD Baby, Spinnup, or Amuse) distributes your music to streaming platforms and collects master royalties, which are tied to the sound recordings.
Bridger collects copyright royalties, which belong to songwriters and composers (lyrics and score), from online and offline uses worldwide, depending on rights and territories.
By joining Bridger, you unlock the missing part of your music rights and increase your revenue.
Key differences between Bridger and a distributor:
- Digital distributors: Master rights (performers, producers)
- Bridger : Copyright royalties (songwriters, composers, beatmakers), from online and offline uses
HOW IS BRIDGER DIFFERENT FROM A CMO OR A PRO?
If you are already a member of a Collective Management Organization (CMO) such as GEMA, SACEM, or SABAM, or a Performing Rights Organization (PRO) like ASCAP or BMI, you can still join Bridger.
Bridger operates as a European Independent Management Entity (RME). This means we are authorized to manage and collect copyright royalties directly, without intermediaries, depending on rights and territories.
Depending on your situation, Bridger can work in two ways:
- Replace your current organization : Bridger can collect both mechanical and performing rights, online and offline, on a worldwide basis, where applicable.
- Complement your current organization : In cases where you are affiliated with a US-based PRO such as BMI or ASCAP, which mainly collects performance rights, Bridger can collect mechanical rights worldwide, both online and offline, alongside your existing setup.
Because configurations vary depending on the organizations involved and your rights profile, Bridger’s team will guide you through the process and help determine the most appropriate setup for your situation.
I'M ALREADY AFFILIATED WITH BMI OR ASCAP.
CAN I STILL USE BRIDGER?
Yes, absolutely. Here’s how it works :
What BMI and ASCAP collect
BMI and ASCAP are Performance Rights Organizations (PROs).
They only collect public performance royalties, generated when a song is played publicly, for example:
- Radio and TV broadcasts
- Live performances
- Online streaming
- Music played in public places such as stores, bars, or restaurants
Coverage in the U.S. and worldwide
If you have an agreement with BMI or ASCAP:
- Your performance rights in the U.S. are collected directly by BMI or ASCAP
- Your performance rights worldwide are collected through their international partner societies
So your performance royalties are covered.
What’s missing: Mechanical rights
What is not collected by BMI or ASCAP are Mechanical Rights, which apply when your song is reproduced, for example:
- Physical formats like CDs or vinyl
- Digital downloads on stores like iTunes or Apple Music
- Interactive streaming platforms where users choose tracks and create playlists (for example Spotify Premium)
Non-interactive platforms (like Pandora radio) are treated as broadcasts and generate performance rights only, not mechanicals.
This means that if you’re only affiliated with BMI or ASCAP, a full part of your copyright royalties is missing.
How Bridger fits in
At Bridger, we offer a Mechanical Rights-only agreement.
This allows you to:
- Keep your performance rights with BMI or ASCAP
- Collect your mechanical royalties on top, without replacing your existing affiliation
In short: BMI/ASCAP + Bridger = full copyright coverage, with no overlap and no conflicting collection.
If you want to make sure you’re collecting everything you’re entitled to, this combined setup is the most complete option.
ROYALTIES COLLECTED BY BRIDGER
As a music composer and/or lyricist, you own the copyright to every musical work you create, whether written alone or with collaborators.
Whenever your music is commercially exploited (online or offline) royalties are generated for the use of your composition (music and/or lyrics).
What Bridger Collects
By giving Bridger your mandate, you authorize us to collect copyright royalties related to the composition of your works, including mechanical and performing rights, from online and offline uses, worldwide, depending on rights and territories.
These royalties relate to the musical work itself (score and/or lyrics), not to the sound recording.
What Bridger Does Not Collect
Your mandate does not cover master rights, which are royalties generated from the sound recording of your tracks.
Master rights are collected separately, typically by your distributor, such as DistroKid, CD Baby, or TuneCore.
COPYRIGHT VS MASTER ROYALTIES
Musical works generate two different types of rights:
1. Copyright
Copyright belongs to the creators of the musical work itself, the composition (music and lyrics). It can involve one or multiple songwriters and is closely linked to publishing rights. These rights generate royalties whenever the work is used, online or offline.
2. Master Rights
Master rights belong to the performers and producers responsible for the sound recording (the master or phonogram). These rights generate revenue through distribution and exploitation of the recording.
Depending on your agreements, master royalties may be shared with producers or featured performers.
MECHANICAL VS PERFORMANCE RIGHTS
Now that we understand the different music rights and roles involved, let’s move to the second level of royalty generation: usage.
The usage of a song refers to how it is used, which generally falls into two categories:
- Song plays
- Song reproductions
Both types of usage generate royalties.
Song Plays (PERFORMANCE RIGHTS)
A song play happens whenever your music is performed or communicated to the public.
There are many ways this can occur:
- A listener streams your song on a digital platform such as Spotify or Apple Music
- A radio station broadcasts your song
- A TV show or movie uses your track as background music
- A restaurant, store, or other public venue plays your song
- Your song is performed live in front of an audience
All of these uses (online and offline) generate royalties.
Song Reproductions (MECHANICAL RIGHTS)
Song reproduction refers to situations where your musical work is copied or fixed into another format.
Examples include:
- Pressing your song onto physical formats like vinyl or CDs
- Downloading your song from a digital store such as iTunes
- Reproducing your song as part of a remix, edit, or sample
For instance, transferring a song from a digital file to a vinyl record is a reproduction. Each reproduction generates royalties.
How Usage Relates to Copyright
These two types of usage divide copyright royalties into two main categories:
- Performance Rights (Song Plays): Performance royalties are generated whenever a song is played publicly, including:
- Radio and TV broadcasts
- Online streaming
- Live performances
- Music played in public places such as shops, restaurants, or events
- Mechanical Rights (Song Reproductions) Mechanical royalties apply whenever a song is reproduced, including:
- Physical formats like CDs and vinyl
- Digital downloads
- Interactive streaming platforms
Interactive streaming platforms are services where users can choose what they listen to, create playlists, or replay tracks. Examples include Spotify Premium and Apple Music.
Because each stream involves a temporary reproduction of the song, these platforms generate mechanical royalties, in addition to performance royalties.
Non-interactive platforms, such as Pandora, do not allow users to choose specific tracks. These platforms function more like radio and therefore mainly generate performance royalties.
FEES EXPLAINED
Bridger offers a transparent and artist-friendly model:
- Free to join – No upfront registration or annual fees
- Commission – 10% of collected copyright royalties
Compared to competitors:
Competitor | Fee Model | Why Bridger Outperforms |
|---|---|---|
SACEM (France) | €150 upfront + 10–15% revenue share | Bridger: no upfront fee, only 10% revenue share |
Songtrust (USA) | $100 upfront + 15% revenue share | Bridger: no upfront fee, lower revenue share |
ASCAP (USA) | No upfront fee, 10–12% revenue share | Bridger collects offline mechanical royalties as well |
Soundreef (Italy) | Free but selective, 10–15% revenue share | Bridger: open registration, lower revenue share (10%) |
Bridger’s approach ensures fairness, transparency, and maximum revenue for creators, making it an ideal choice for songwriters and music composers worldwide.