Questions, answered.

AudioMama is a UK non-profit music platform being built around fair pay for independent artists. Charity registration is in progress with the UK Charity Commission. The model commits 90% of every download to the artist and 10% to the non-profit's charitable mission once registration completes.

AudioMama is not a streaming service. It is a download/ownership platform: when fully launched, fans will buy and keep the file forever, DRM-free, in studio-master quality.

Phase 1The website is live, the mission is publicly described, and the founder's tracks are available via his personal Gumroad as a real working preview of what artist stores will look like.

Phase 2The full platform — with multi-artist onboarding, music uploads, the 90% direct-to-artist split, and registered charity status — launches once the custom backend is built and Charity Commission registration completes.

Right now you can: read about the model, preview SULTRIX's profile and music, register interest as an artist or fan, and contribute voluntary support if you want to help fund the build.

The biggest difference is the model: AudioMama is a download/ownership platform, not a streaming service. Fans will pay for tracks they want and keep the file permanently — no monthly subscription, no algorithmic feed, no payout-per-stream model that pays artists fractions of a penny.

The second difference is the economics: the model commits 90% of each download to the artist, immediately, with no royalty cycle. A $3 download is roughly equivalent to ~850 Spotify streams in artist earnings.

The third is structure: AudioMama is being built as a UK non-profit (charity registration in progress). Spotify, Apple Music, and Tidal are for-profit corporations with shareholders. There is nothing wrong with that — it is just a different incentive structure.

For a full sourced comparison, see the Why AudioMama page.

AudioMama was founded by Sultrix, who records and performs as SULTRIX. He is an internationally-trained composer, profoundly deaf, who works exclusively in high-definition audio because the resolution is what allows him to perceive the detail he is composing. He has been writing music since age ten.

The grandchild of a Palestinian Christian who left the Levant for Haiti in the early twentieth century, and the child of a Haitian mother and Cuban father, he built AudioMama because fair pay and ethical ownership are not abstract values to him — they are family history.

Read the full founder story on the About page.

In Phase 1 (May 2026 onward) the live components are:

• The full public website — describing the model, mission, and Phase 2 vision honestly
• SULTRIX's music, available now via his personal Gumroad — real, working commerce that previews what AudioMama artist stores will look like
• Artist interest registration — artists can draft a profile (name, bio, genre, links) for review and priority onboarding when Phase 2 opens
• Fan interest registration — sign up to be notified when Phase 2 launches
• Voluntary support page for contributions toward the Phase 2 build and charity registration
• Full transparency about exactly what is and is not happening in Phase 1

Phase 2 is the full platform. It includes:

• The custom backend — AudioMama's own infrastructure for hosting, delivery, and payments
• Multi-artist onboarding with music uploads — Phase 1 registrants onboarded first
• The 90% direct-to-artist payment split — enforced by AudioMama's own systems with no third-party fees in the middle
• Immediate per-transaction payouts — no royalty cycle
• Registered charity status — once UK Charity Commission registration completes
• Gift Aid for UK donations — once registration completes
• Artist analytics dashboard, fan library, review systems

Phase 2 launch depends on two things completing:

• The custom backend, being built with a charity-officer technical partner — engineering work in progress
• UK Charity Commission registration, in progress with published timelines from a few weeks to a few months depending on complexity

We won't quote a specific date until both are confirmed. Phase 1 registrants get notified first when the date is set.

Two honest reasons:

• Honesty about the 90/10 split. AudioMama's headline promise is 90% direct to artist. If we launched now using a third-party payment processor, the artist's net would be reduced by that processor's fees — not 90%. Rather than launch a compromised version, we're building our own backend so the headline promise is real on day one.
• Honesty about charity status. Soliciting donations or claiming Gift Aid as a "registered charity" before the UK Charity Commission has registered AudioMama is illegal under the Charities Act 2011. We won't make either claim until the registration is complete.

Phase 1 is what we can responsibly do today. Phase 2 is what we can responsibly do once both pieces are in place.

You can register interest and draft a profile. The Apply page collects:

• Artist name and email
• Short bio
• Genre(s)
• Links to your existing platforms (Spotify, SoundCloud, your own site)
• Audio formats you record in

Profiles are reviewed and held until Phase 2 onboarding opens. You cannot upload music in Phase 1 — that capability launches with the Phase 2 backend. Phase 1 registrants get priority onboarding when Phase 2 opens.

Phase 1No. The custom backend that handles uploads, hosting, and the 90/10 split isn't built yet, so there's nowhere honest to upload to. Anything we offered today would be a third-party workaround, which is exactly what Phase 2 is being built to avoid.

Phase 2Yes — and Phase 1 registered artists get onboarded first.

SULTRIX is the founder. His tracks have been for sale on his own personal Gumroad since before AudioMama existed — that's his commerce, run by him, paid to him directly by Gumroad on Gumroad's standard schedule.

What AudioMama does in Phase 1 is link to that existing Gumroad as a working preview of what AudioMama artist stores will look like in Phase 2. AudioMama itself isn't selling anything in Phase 1 — it's pointing at a real example so other artists, fans, and partners can see what's coming.

Independent artists who care about studio-master audio quality and fair pay, in any genre, from any country. AudioMama is genre-agnostic and country-agnostic. What matters is:

• The music is your own work or you have full rights to distribute it
• You record (or can record) at studio-master quality (96kHz/32-bit and above, lossless)
• You're comfortable with a non-exclusive arrangement (you keep your other platforms)

Phase 2The model commits 90% of the fan's payment to the artist; 10% funds the non-profit's mission. On a $3 download, that's $2.70 to the artist, $0.30 to AudioMama's mission. AudioMama's own backend processes the payment, so there's no third-party processor taking a further cut — it's the real 90%, not a headline 90% reduced by hidden fees.

Phase 2Direct bank transfer (UK BACS, SEPA, ACH), Wise, PayPal, and additional methods based on artist demand. Immediate per transaction — no 30/60/90-day royalty cycle as on streaming platforms.

Phase 1You can't earn money via AudioMama yet because no music is being sold via AudioMama's own systems. SULTRIX's tracks are sold via his personal Gumroad, and Gumroad pays him directly — AudioMama isn't in that money flow at all.

No. Joining AudioMama, registering interest in Phase 1, and uploading music in Phase 2 are all free. There is no listing fee, no monthly subscription, no per-track upload fee. The only deduction is the 10% that funds the non-profit's mission, leaving 90% direct to the artist.

Yes. Artists set their own minimum price per track or release; fans can pay the minimum or pay above it. This is the pay-what-you-believe model. The minimum is yours to set — there is no platform-imposed price floor or ceiling.

You do. Always. Uploading to AudioMama (when Phase 2 launches) does not transfer ownership of the master recording, the underlying composition, the lyrics, or any neighbouring rights. You retain full copyright in your work.

What AudioMama receives is a limited, non-exclusive licence to host the file and distribute it to fans on the platform, on the terms you've agreed. Nothing more. AudioMama never claims ownership of any artist's work.

No. Downloads are licensed for personal listening only. When a fan pays for and downloads one of your tracks, they receive a personal, non-exclusive, non-transferable licence to play the recording for their own private, non-commercial enjoyment.

The download licence does not give them the right to:

• use the track in advertising, marketing, brand content, paid social media posts, films, TV shows, video games, podcasts that generate revenue, or any other commercial work;
• play the track as background music in shops, restaurants, gyms, bars, or any commercial premises;
• publicly perform, broadcast, stream, or rebroadcast the recording;
• upload it to YouTube, Spotify, SoundCloud, or anywhere else;
• sample, remix, edit, modify, or create derivative works;
• resell, rent, sublicense, or transfer the recording;
• use the recording to train AI or machine-learning models.

Anything beyond a fan listening to the music themselves requires separate written permission from you. The full licence terms are spelled out in section 6.1 of the Terms & Conditions. Violation by a fan is a breach of those terms and can also be copyright infringement under UK law.

If you receive a commercial licensing enquiry from a fan, AudioMama can put them in contact with you to negotiate directly. AudioMama doesn't act as a sync agent or licensing intermediary by default — your masters, your decisions, your rates.

Yes. AudioMama is non-exclusive. You keep your distribution arrangements with any other platform, label, distributor, or aggregator. AudioMama doesn't ask you to remove your music from anywhere else; doesn't require windowing or exclusivity periods. You can sign with a label tomorrow and your AudioMama presence is unaffected.

Yes. You can withdraw any track or your entire catalogue at any time, for any reason, with no notice period. Fans who already purchased a download keep their copy (which is how downloads work — the fan owns their file), but no new sales will occur after takedown.

You keep everything. Specifically:

• Your master files are yours. AudioMama never claims ownership of them.
• The non-exclusive design exists precisely so artists are never dependent on AudioMama's continued existence to access or sell their own work. Anything you sell on AudioMama, you can also sell elsewhere.
• Written commitment to assist migration. AudioMama commits in writing to helping artists return their files and migrate to alternative platforms in the event of wind-down. Once charity registration completes, this becomes a formal legal obligation under the CIO's governing document.

No. AudioMama is a download retailer; it does not collect or administer mechanical or performance royalties on the artist's behalf. Artists keep their own PRO/PRS/ASCAP/BMI/SACEM memberships and collect their own performance royalties through those bodies as normal. AudioMama is a separate, additional revenue stream.

This depends on your contract. Many label deals include digital distribution rights that would limit where else you can sell the same recording. Check with your label or your music lawyer before registering material that's covered by an existing recording contract. AudioMama doesn't advise on third-party contracts — but we'd rather you pause than register something you're not contractually free to.

Phase 1You can buy SULTRIX's tracks right now — the founder's catalogue is available through his personal Gumroad, linked from his profile and the music store. Twelve studio-master tracks at 96kHz/32-bit. Those purchases go directly to him via Gumroad on Gumroad's standard payout schedule.

Phase 2The full multi-artist catalogue, with AudioMama's own backend processing the 90/10 split directly.

Downloads currently fulfilled via Gumroad as a temporary third-party tool while we build native infrastructure. When you click DOWNLOAD on a track, you'll go to Gumroad to complete the purchase, and the file is delivered there.

In Phase 2, AudioMama will host its own direct download system — no redirects, no third-party accounts.

A DRM-free studio-master audio file (typically WAV or FLAC at 96kHz/32-bit or higher), downloaded directly to your device. You own it. You can play it on any compatible software or hardware. You can keep it forever. No subscription required.

Yes — modern phones, laptops, and DAPs (digital audio players) all play 96kHz/32-bit FLAC and WAV files natively or with a free player. Software examples: VLC (everywhere), foobar2000 (Windows), Vox or Audirvana (macOS), Poweramp (Android), VLC or Capriccio (iOS). Your phone's built-in DAC may downsample on output; an external DAC or a quality pair of headphones unlocks more of the resolution.

Yes — you can pay the minimum the artist set, and you'll receive the same studio-master file as anyone who pays more. The pay-what-you-believe model exists because music has different value to different people: a track might be worth $3 to a casual listener and $15 to a devoted fan. Letting the fan choose lets devoted listeners contribute more without forcing casual listeners to overpay.

Most fans pay above the minimum. None are pressured to.

For Phase 1 purchases (SULTRIX's tracks via Gumroad), refunds follow Gumroad's standard refund policy. If you have a problem with a download (corrupted file, wrong file delivered), contact hello@audiomama.com and we'll help directly.

Personal use only. The artist retains copyright; your purchase grants you the right to play the file on devices you own, back it up, and use it personally. It does not grant you the right to redistribute, sell, or use the file commercially without the artist's permission.

The best way to share music you love is to share the artist's profile link so your friends can buy it themselves and pay the artist directly.

Not yet. AudioMama is a UK non-profit, and registration as a Charitable Incorporated Organisation (CIO) is in progress with the UK Charity Commission. Until that registration is complete, AudioMama:

• does not describe itself as a "registered charity"
• does not display a charity number
• does not claim Gift Aid
• treats contributions on the Support page as voluntary support, not tax-deductible donations

The UK Charity Commission's published timelines run from a few weeks to a few months depending on application complexity. AudioMama is currently progressing through that process. Once registration completes, the website will be updated with the charity number, Gift Aid will activate, and Phase-1 contributors will be invited to retroactively confirm a Gift Aid declaration where eligible.

No. Tax-deductibility for individual UK donors (Gift Aid) and corporate donors requires registered charity status, which AudioMama does not yet have. Phase 1 contributions on the Support page are voluntary support, not charitable donations. Once registration completes, eligible UK contributors will be invited to retroactively sign a Gift Aid declaration.

It funds the work of getting AudioMama operational and registered:

• UK Charity Commission registration (filing, legal review, CIO setup)
• Phase 2 backend development (the custom platform that enforces the 90/10 split directly)
• Platform infrastructure (hosting, domain, SSL, file storage)
• Artist outreach for the Phase 2 launch cohort

AudioMama itself does not pay shareholders, executive bonuses, or dividends — there are none.

A studio master is the original, final audio file an artist produces in the recording studio before it is processed by Spotify.

It's the highest-quality version of the song that exists. Everything else — the version on Spotify, Apple Music, YouTube, even iTunes downloads — is made from the master by compressing or re-encoding it, which throws away some of the original audio data to save file size or fit a streaming format.

A studio master is:

• Uncompressed — no audio data has been thrown away. Streaming services use lossy compression (MP3, AAC, Opus) that permanently removes parts of the sound you might or might not consciously hear.
• High resolution — typically 96kHz/32-bit stereo for new recordings (much higher resolution than CD's 44.1kHz/16-bit), or 44.1kHz/16-bit if that's the resolution the artist recorded at originally.
• Lossless — usually delivered as WAV or FLAC files. Both are bit-for-bit accurate to the master.
• DRM-free — once you download it, the file is yours. It works in any music player, on any device, forever.

When you download a studio master from AudioMama, you're getting the actual file the artist created — not a re-encoded streaming-grade copy. It's the closest you can get to hearing the music exactly as the artist intended it.

Studio masters at 96kHz/32-bit and above, lossless. WAV and FLAC are the standard upload formats. Higher resolutions (192kHz, 384kHz) are welcome. AudioMama does not apply lossy compression — fans receive exactly what the artist uploaded.

96kHz is the sample rate — the audio is sampled 96,000 times per second. CD quality is 44.1kHz; 96kHz captures roughly twice as much information.

32-bit is the bit depth — it describes the dynamic range, the gap between the quietest and loudest moments the file can represent. 32-bit float effectively removes any practical ceiling on dynamic range.

The result is music with more headroom, more low-level detail, and a cleaner signal path than streaming-grade compressed audio.

You'll hear a meaningful difference on most decent headphones or speakers. To fully experience studio-master quality, the following help significantly:

• A DAC (digital-to-analogue converter) — even a basic USB DAC improves quality noticeably
• Quality headphones (open-back audiophile headphones are ideal)
• Studio monitors with flat response, designed for accurate reproduction
• A lossless audio player (Audirvana, Roon, foobar2000, VLC)