Why we exist.
How we work.

Pilot Hill Publishing was built because the way music rights are handled has always felt distant.

For most creators, their work moves through systems they never really see. It gets registered, licensed, reported, and paid through layers of companies and databases that rarely speak clearly to each other. You’re told what happened, but you don’t always see it happen.

We wanted to change that.

We don’t take ownership of your work. Your copyrights remain yours. What we do is sit between the systems that already exist and make them visible in a way that actually makes sense.

That includes connecting catalog data, internal accounting records, and third-party royalty statements directly from collection societies, distributors, and licensing partners. Where those third-party systems generate reporting, we deliver those statements to the artist as part of our administration process—not as summaries, but as source documentation.

In many cases, artists can also engage directly with those third-party systems, with full visibility into how their works are being reported across platforms.

This matters because most reporting in the industry is fragmented. Information exists, but it rarely arrives in one place, and it rarely arrives in a form that can be verified end-to-end.

We are also deeply focused on sync licensing for film, television, and media placement—ensuring that works are not only tracked after use, but actively positioned for placement opportunities across visual media. Rights visibility and licensing opportunities are part of the same system, not separate conversations.

A lot of companies talk about transparency. For us, it has to be more direct than that. If the data exists at the source level, it should be visible at the source level. Not interpreted. Not reduced. Visible.

We don’t believe creators should have to guess how their work is performing, or rely on incomplete reporting to understand their own rights.

So the system is built around something simple: