In a Cover, you own the new recording (the Master), but the original songwriters keeps 100% of the Publishing. In a Remix, you generally get a flat fee or a small percentage of the Master royalties, but you rarely get any Publishing unless you wrote a brand-new verse or melody.
1. The Cover Song Model (Interpretations)
A cover is when you record your own version of an existing song (e.g., you singing a Radiohead song).
- Who Gets the Publishing? 100% goes to the Original Songwriter. You do not own any of the “Composition” copyright.
- Who Gets the Master Royalties? You do. Every time your cover is streamed, you keep the “Master” share of the royalty.
- The Legal Requirement: You need a Mechanical License to release it (usually handled by your distributor, like DistroKid, for a small fee).
2. The Remix Model (Derivative Works)
A remix is when you use audio stems from the original recording to create something new.
- Who Gets the Publishing? Usually, 100% remains with the Original Songwriter. Remixers are typically considered “Work for Hire” and are paid a one-time flat fee.
- The “Derivative” Exception: If you add a significant new element (like a new rap verse or a totally new melody), you can negotiate for a small percentage of the publishing (e.g., 5-10%).
- The Legal Requirement: You cannot release a remix without explicit permission from the original label and publisher. There is no “compulsory license” for remixes.
3. Comparison: Remixes vs. Covers at a Glance
| Feature | Cover Songs | Remixes |
| Publishing Share | 0% (Always) | 0% (Usually) / 5-10% (Negotiable) |
| Master Share | 100% (You own the audio) | 0% (Usually a fee) / 5-15% (Royalty points) |
| Permission Needed | No (Compulsory license available) | Yes (Must be cleared) |
| Sync Potential | High (Trailers love moody covers) | Medium (Specific to clubs/energy) |
4. The “Distribution Trap”: Why Your Cover Isn’t “Sync-Ready”
Many artists release covers through a distributor and think they can pitch them for movies.
- The Sync Block: To license a cover for a movie, the production company needs a Sync License from the original publisher. If the original publisher doesn’t like your version or wants too much money, your cover is “dead in the water” for sync.
- The Revenue Leak: If you don’t have a publishing administrator, you won’t collect the Neighboring Rights or specific “Master-use” royalties that occur when your cover is played on international radio or TV.
5. How Audiobulb Maximizes Your “Alternative” Versions
At Audiobulb, we help you turn your covers and remixes into professional assets.
- Sync Pitching for Covers: We specialize in pitching high-quality, “moody” or “reimagined” covers to music supervisors. We handle the professional communication so supervisors know exactly who to contact for the Master side.
- 0% Commission Administration: For a flat $19.99/year, we ensure you are registered correctly. If you are a remixer who negotiated a 5% publishing share, we make sure you get 100% of that 5% from every corner of the globe.
- Legal Shield: We help you understand when a remix becomes a “Derivative Work,” ensuring you have the right metadata to avoid copyright strikes and takedowns.
Summary
Covers are for building your Master Recording wealth; Remixes are usually for Brand Building and upfront fees. In both cases, the “Publishing” belongs to the original creator. To make money as an independent artist in 2025, you must protect the portions you do own. Don’t let your distributor be your only partner, use Audiobulb to manage the rights that distributors ignore.
Your Next Step: Have a killer cover or an official remix ready to go? Join Audiobulb for $19.99/year to ensure your recordings are professionally administered for global collection.