Product tour
Music catalogue valuation from the evidence, not from a side of the deal
Blash Music reads the royalty statements line by line, values publishing and recording separately, projects each kind of income on its own path, and checks the result against the market. It has no stake in the outcome, so the number is the same whichever side you are on.
The demo runs on fictional sample catalogues with illustrative figures. No sign-up, nothing to install, and nothing you do in it is saved.
What we are trying to fix
A catalogue is a financial asset, yet most owners learn what theirs is worth only from somebody with a reason to see it one way. The evidence is all in the statements; it is just hard to read.
- Every payer reports in its own format. The society, the publisher, the distributor and the label each send statements in their own layout, periods and currency, as PDFs, spreadsheets and exports. Before anybody can value the catalogue, somebody has to read all of it.
- The quick answer is one multiple on last year’s income. It prices a fading download line and a growing streaming line as the same money, and a song released last year the same as one that has earned for decades.
- The number depends on who commissioned it. A buyer’s model looks for reasons to pay less and a seller’s adviser for reasons to ask more. Whichever side paid for the work, the other side starts by discounting it.
- A one-off spike is priced as if it will last. A placement, an anniversary or a moment online lifts one year of income. Capitalised at a multiple, a single good year becomes a permanent part of the price.
- Nobody checks whose share the statement reports. A publisher’s statement can show the whole work while the deal is for one share of it, and a writer’s own statement already is the writer’s share. Read the wrong way round, the value is out by the size of the share.
- An independent view takes weeks and an adviser’s fee. So most owners find out what their catalogue is worth only when somebody makes an offer, and they hear it first from the person trying to buy it.
Why it is different
Most valuations start from a multiple and work back to the catalogue. This one starts from every line of every statement and works forward, so each figure can be traced to where it came from.
Every line read, and added back to the statement’s own total
Statements are read line by line, whatever the payer and whatever the layout, and the lines are added back up against the total each statement says it paid. The difference is shown on the valuation, whether it balances or not.
Publishing and recording, valued separately
The song and the recording are different assets: collected by different people, growing at different rates and trading at different multiples. Each is valued on its own terms, and only then combined.
Each kind of income on its own path
Performance, mechanical and sync are each projected from their own history, weighed against the market’s growth for that income, and eased to a long-run floor. Every song is read on its own, so how much rests on a few of them is plain.
Checked against the market
The result is weighed against reported catalogue transactions of the same rights type, genre and era, and against the range buyers target for a catalogue of its age. A figure outside the market says so.
Upside shown beside the number, never inside it
Re-registration back pay, a better administration deal, sync and statutory rate changes are each shown as potential, with its own basis. The headline is what the catalogue earns and is expected to earn, not what it might.
A one-off is valued as a one-off
An event that lifts income is modelled as a peak that fades, with any lasting lift kept apart from it. An event already inside the reported income is not counted a second time.
Whose share, asked before anything is valued
When the interest is part of a work, it asks whose income the statements show and applies the share once, at the source, so the forecast, the range and the reports all value the same interest.
No stake in the outcome
Blash Music has no stake in the catalogue, the deal or the decision. Default assumptions sit at fair market value, and the method is the same whether you are buying, selling or simply want to know what it is worth.
Every number can be questioned
Ask about any figure in plain language and the assistant answers from that catalogue’s own numbers. The method behind it is published in full.
A report you can take into the room
The full report as a PDF, and on the top tier an Excel model in which the assumptions drive every sheet by formula, so a change of view flows through the whole valuation.
What it is for
The point is not a number for its own sake. It is knowing what you hold, and being able to show why, at every stage of a career and not only when it comes up for sale.
Know the number before anybody offers one
An independent estimate of what the catalogue is worth today, with its range, so the first figure you hear is your own and not a buyer’s.
Negotiate from evidence
Every figure traces back to the statements and the method, with negotiation points song by song, so the conversation is about the catalogue and not about whose model to believe.
See where the value comes from
What the catalogue earns today, what growth adds and what better management could unlock, each kept apart, and which songs carry the income.
Find the money being left behind
Under-collected performance income, an administration deal that could change at reversion, songs that are not registered properly: each shown as potential, with the basis for it.
Plan a sale, a refinancing or an estate
The value with and without debt, a range from two independent methods, and a report that a lawyer, a lender or an executor can read.
What you will see in the demo
Four fictional sample catalogues, valued end to end, with nothing behind them but the page you are on.
Blash Music is built and run by Blash.
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