“Imagine buying a 50-unit investment property and only renting nine of the apartments. Sure, the building, in time, may increase in equity, but think about the money you’d be leaving on the table.”
Brian K. Jackson
Creative Catalog Strategist
Let’s solve the problem…
Too many song catalogs are acquired for historical earnings but not evaluated and curated to maximize future revenue potential. As a result, promising songs go unheard. Without a creative specialist, a 20-30% revenue lift is being left on the table. The problem lies in…
Knowledgless of assets
Have you actually heard the songs that you acquired?
No creative evaluation
Are the songs you just purchased quality assets?
No Exploitation Strategy
If your catalogs contain any gems, how is anyone going to hear them?
No pre-acquisition foresight
Before buying a new catalog for a handful of songs, wouldn’t it be beneficial to know what else you are acquiring?
Why it matters…
Reliable Consulting Advice
There is no substitute for quality control. So, when it comes to song evaluation, you need a reliable ear to assess the potential of your songs and the instinct to know what to do with them. That’s where I come in; I have an ear for hits and a track record of chart-topping success! I will steer you toward untapped revenues by providing the following:
Asset Evaluation
Every song will be reviewed for commercial usage
Curated List of Viable Copyrights
All songs will be presented according to degree of viability
Expert Perspective
Professional insight will be provided by a true industry insider
Schedule A Assessment
All catalog assets will be evaluated prior to acquisition
Reporting and Strategy
A thorough, creative rating will be clear and concise
What is the realistic upside of an unexploited copyright?
Under conservative assumptions, a single exploited composition can generate mid-five to low-six figures annually in select cases, for example, when recorded by an artist with an established audience and supported by structured release strategy, professional publishing administration, and targeted licensing outreach.”
Why isn’t this upside reflected in catalog pricing?
Because upside requires active exploitation, time, and creative relationships – variables most financial buyers are not structured to manage.
As a result, catalogs are typically priced for passive ownership, not active development.
Why doesn’t this upside get realized automatically?
Because exploitation requires coordination across creative, administrative, and commercial functions — not just ownership. Most catalogs are optimized for collection, not activation.
What assumptions does that upside rely on?
Upside scenarios assume:
- A professionally recorded release
- Distribution through major DSPs
- Active publishing administration
- At least one meaningful placement or radio exposure
How common are outcomes like this in real exploitations??
Not frequently — and it shouldn’t be assumed portfolio-wide.
However, across large catalogs, a small percentage of works tend to account for the majority of incremental upside, consistent with power-law behavior observed in music consumption.
What changes when catalogs are actively exploited?
Active exploitation introduces:
- Controlled creative risk
- Incremental operational cost
- Measurable performance feedback
Typical Revenue Composition for an Activated Song (Illustrative)?
| PLATFORM | % of REVENUES |
| Streaming (DSPs) | 44-55% |
| Performance (Radio / PRO) | 20-30% |
| Sync & Licensing | 15-25% |
| UGC / Long-tail | 5-10% |
What is the revenue upside of an unexploited catalog asset?
This example reflects a successfully activated but non-hit composition and is not intended to represent portfolio-wide performance.
Illustrative Example: One Song, Conservatively Exploited
- Artist monthly listeners: 400K
- Song monthly streams: 1.2M
- Release age: 6–12 months
| PLATFORM | Monthly Revenue |
| Spotify | $2,500–$3,200 |
| Apple Music | $900–$1,200 |
| YouTube | $1,200–$1,800 |
| Pandora | $400–$700 |
| Performance Royalties | $800–$1,500 |
| Total (Monthly) | $5,800–$8,400 |
* Estimates reflect gross earnings prior to administrative fees, mechanicals, splits, and distributor royalties.
Any other questions?…
Feel free to contact me with any additional questions:
Brian K. Jackson
Creative Catalog Strategist
323-732-2737
Who is Brian K. Jackson?
A Decorated Music Publishing Authority
Former Sr. VP, Creative/A&R, EMI Music Publishing (Sony/ATV)
Managed the world’s largest music catalogue
Music Publishing Exec. of the Year (Impact Magazine)
Publishing Exec. of the Year (Urban Network Magazine)
Icon Award (BOE Music Group)
A Creative/A&R Perspective
Discovered and signed music icons P!nk, Pharrell, The Neptunes, Alicia Keys, Rodney “Darkchild” Jerkins, and Harmony “H-Money” Samuels
The Neptunes (Inducted into Songwriter’s Hall of Fame / 2020)
Rodney Jerkins (Inducted into Songwriter’s Hall of Fame / 2025)
P!nk (Songwriter’s Hall of Fame Nominee / 2026)
Diverse Industry Knowledge
Continues to maintain a vast network of relationships throughout all areas of the entertainment including music, film and television.
Worked at Epic, Columbia and Mercury Records
Has served as a music supervisor for a feature film
Created, developed and founded Splitsheetz (Music app for songwriters)
An Ear and Instinct for Identifying Hits
Life-long songwriter/producer with an uncanny ear for recognizing commercially viable songs.
Wrote “Desole’ for French artist recording, Thierry Cham
While at Mercury Records, spotted hits for Oleta Adams, Will Downing and JOE
Student of an array of music genres, resulting in an expansive music palette
A Track Record of Chart-Topping Success
Invaluable, hands-on experience with pitching songs and/or facilitating collaborations resulting in dozens of platinum selling releases
“The Boy Is Mine” – #1 Billboard Hot 100 Singles; #1 Hot R&B/Hip-Hop Single
“Maria, Maria” – #1 Billboard Hot 100 Singles
“Nobody” – #1 Billboard Hot R&B/Hip-Hop Singles; #3 Hot 100 Singles
An Innovative Problem Solver
Conceived, developed and founded Splitsheetz, an app that provided aid to songwriters globally
First mobile app created to alllow songwriters to negotiate and document copyright splits
Provided a solution for copyright disputes
Educated songwriters and producers regarding asset protection
How it all began…
“Beginning my career at the largest music publishing company in the world taught me one thing…the more songs you exploit, the more money you make.”
What they’re saying…
Pure magic!
Brian has magical ears! He’s always known how to call a hit and see its potential before anyone else. He taught me to trust my instincts, take risks, and embrace records that feel different.
★
★
★
★
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Harmony “H-Money” Samuels
Grammy-nominated songwriter/producer
He heard it!
When I was a kid, just 17, Brian came to my house and listened to every song I played him, for hours! I guess he heard what he needed to hear because he put his job on the line and signed me to my first deal. Obviously, his ear and instincts are something special!
★
★
★
★
★
Rodney “Darkchild” Jerkins
Grammy Award-winning songwriter/producer
Ready to Take the Next Step?
With a little attention to your existing assets, together, we can transform your dormant copyrights into thriving revenue streams.
Brian K. Jackson
Creative Catalog Specialist
323-723-2737
bkj@mavenpov.com