Bringing music, media, and people together through thoughtful creative work — from concept to execution, with intention.
An emerging ITB producer and mixing engineer, I completed my MIA diploma in August 2026. Proficient in Pro Tools and Logic Pro, I independently produced, mixed, and released 13 Christian instrumental cover tracks through Divinotes — and have since expanded into original composition. I work across the full production chain, including arrangement, MIDI and virtual instrument programming, sound design, editing, mixing, and mastering.
I've always been drawn to the intersection of music, Christian music, and instrumentals. That led me to Divinotes — a faith-centered instrumental worship project I actively manage end-to-end across five platforms.
Through Music Industry Arts at Algonquin, I've formalized what I was already doing in audio production and now aspire to expand into rights administration, music publishing, and content systems.
My DAW proficiency was developed during my time as an MIA student under the instruction of veteran audio professionals Wayne Hawthorne and Kevin Komaranski, whose decades of combined professional experience across music production, recording, broadcast mixing, sound design, and audio engineering shaped my approach to working in the DAW. My mixing experience includes level balancing, EQ and dynamics processing, vocal editing and tuning with Melodyne, audio repair and restoration with iZotope RX, and organized bus-based mixing workflows. I've also acquired knowledge in spatial audio, including surround sound and Dolby Atmos mixing, under the instruction of Charae DeGrow.
Beyond my DAW-focused training, I completed over 200 hours of recording studio training, learning directly from professional engineers and studio owners Michael Bond and Jason Jaknunas while assisting with Recording Lab sessions for full-band productions of Luna and California Dreaming. These sessions gave me hands-on experience supporting the production process from tracking through mastering. Lastly, I gained valuable business and entrepreneurship knowledge from Byron Pascoe, Colin Mills, and Teaville Bourque.
Before music, I spent years in financial services as a Mortgage Broker and Financial Advisor at Scotiabank. That background, particularly in compliance, client management, documentation, and risk, gives me a perspective that is uncommon in the music industry.
With this foundation, I aim to help more Christian artists confidently embrace their craft — beginning with the production support needed to bring their music to life and share it with the world, while continuing to build toward rights administration, music publishing, and content systems.
A faith-centered instrumental music platform creating peaceful piano and flute worship arrangements — designed for prayer, reflection, and rest. Every aspect is actively managed: from recording and mixing to scheduling, analytics, copyright registration, and platform distribution.
Currently growing · Open to partnership opportunities
Present · Future · Past
Full-cycle planning, volunteer coordination, stakeholder communication, and execution for a formal gala event. Main planner for the young adults ministry.
View on Eventbrite →Second consecutive year as primary organizer — sustained leadership, team coordination, and event management capacity.
View on Eventbrite →Whether you're looking for music production, mixing, or mastering services — or have a collaboration in mind — I'd love to hear from you. All projects start with a conversation.
Album: Survey – Pt. 1 · Label: Provident Label Group LLC (Sony Music Entertainment)
A full royalty map tracing where every dollar this recording generates actually goes — publishing, mechanicals, neighbouring rights, and master streaming — across Canada and the U.S.
| Songwriter | PRO | Composition Ownership | Publisher(s) | Administrator |
|---|---|---|---|---|
| Amanda CookFeatured Artist | 🇨🇦SOCAN | 25% | Maison Publishing + All Essential Music | Essential Music Publishing LLC |
| George Joshua Holiday | 🇺🇸ASCAP | 25% | Elevation Worship Publishing 2 + Phillipians 4:13 | Music by Elevation |
| Tiffany Hammer Hudson | 🇺🇸BMI | 25% | Music by Elevation Worship Pub + My Magnolia Music | Music by Elevation |
| Jason Ingram | 🇺🇸BMI | 25% | Be Essential Songs + My Magnolia Music | Essential Music Publishing LLC |
| Total | 100% | |||
| Songwriter | PRO | Writer-Side Royalty | Publisher-Side Royalty |
|---|---|---|---|
| Amanda Cook | 🇨🇦SOCAN | 12.5% | 12.5% |
| George Joshua Holiday | 🇺🇸ASCAP | 12.5% | 12.5% |
| Tiffany Hammer Hudson | 🇺🇸BMI | 12.5% | 12.5% |
| Jason Ingram | 🇺🇸BMI | 12.5% | 12.5% |
| Total | 50% | 50% | |
★ SOCAN pays Amanda's writer share directly to her. Her publisher share flows SOCAN → Maison Publishing + All Essential Music → Essential Music Publishing LLC → Amanda.
| Territory | Collector | Pays To | Finally To |
|---|---|---|---|
| 🇨🇦 Canada | CMRRA | Maison Publishing + All Essential Music → Essential Music Publishing LLC | Amanda Cook |
| 🇺🇸 United States | The MLC | Each writer's respective publisher(s) → their admin | Each Writer |
| Spotify, Apple Music, Amazon Music, YouTube, Tidal, Pandora, Trebel + more | |||
★ The Mechanical Licensing Collective (themlc.com) collects digital mechanical royalties from all DSPs operating in the U.S.
| Recipient | Role | Featured? | Re:Sound 🇨🇦 | SoundExchange 🇺🇸 |
|---|---|---|---|---|
| Amanda Cook | Lead Vocals, Piano, Programming | Featured | 40% | 45% |
| Provident Label Group LLC (Sony) | Sound Recording Owner (Label) | — | 50% | 50% |
| Jason Ingram | Backup Vocals, Programming | Non-Featured | 10% shared | 5% shared |
| Joe Williams | Programming | Non-Featured | ||
| Dan McMurray | Drums | Non-Featured | ||
| Cassie Campbell | Bass | Non-Featured | ||
| E. Edwards | Guitar | Non-Featured | ||
| Total | 100% | 100% | ||
★ Source: lawyerdrummer.com — SoundExchange splits confirmed; Re:Sound split confirmed May 2021.
| Who | Role | % of DSP Revenue |
|---|---|---|
| DSPs | Payer | 100% generated |
| Provident Label Group LLC (Sony) | Master Owner / Label | ~86% |
| Amanda Cook | Solo Artist — Master Royalty | ~14% |
★ Amanda's ~14% is a class-based estimate that assumes the advance is fully recouped. As a solo artist, there's no further split with other performers on the master royalty.
| Organization | Side | What They Collect | Pays To |
|---|---|---|---|
| SOCAN | Publishing | Public performance royalties for songwriters & publishers | Amanda (writer share, direct) + Maison Publishing / All Essential Music (publisher share) → Amanda |
| Re:Sound | Recording | Neighbouring rights — public performance of the master | Amanda (40%), Provident Label Group (50%), Musicians (10%) |
| CMRRA | Publishing | Mechanical royalties — streaming & physical copies in Canada | Maison Publishing + All Essential Music → Amanda |
| Three separate organizations — three separate income streams — each flows differently | |||
Common questions about publishers, self-administration, and how publishing actually works in practice.
Hover a question to preview the answer · click to keep it open
SOCAN and a music publisher are two very different things. SOCAN licenses music uses, collects royalties, and distributes them to creators and publishers — it isn't a business partner for the compositions themselves.
A publisher acts as the business behind the songs: registering compositions, monitoring income, licensing uses, pitching music for opportunities, and developing the catalogue commercially. Those are different jobs — SOCAN collects and distributes; a publisher registers, administers, and actively develops the catalogue.
Registering works, maintaining ownership splits, monitoring registrations, managing mechanical rights, chasing international royalties, reviewing statements, handling licensing requests, managing sync opportunities, following up on missing income, and keeping catalogue data clean.
As a recording artist, there's already an entire business to self-manage on the master side. A publisher can take the composition side off the plate — letting creative energy go toward writing and recording.
There are three paths for managing compositions:
An admin deal is a real improvement over DIY — it removes the administrative burden while letting the writer retain full ownership. If the goal is purely to save time on paperwork, it does that well.
But administration alone doesn't create opportunities. A full publishing deal adds the commercial and creative layer: pitching compositions, connecting the catalogue with artists and industry professionals, managing sync, and actively building uses for the music.
The key difference: an administrator asks "Did we collect the money?" A publisher also asks "How do we create more of it?"
One stream can implicate multiple rights — and if any piece of data is wrong, money doesn't reach the right place. A publisher is constantly checking whether the composition is registered correctly, whether all writers are identified, whether ownership shares are accurate, and whether the recording is matched to the right composition.
The MLC emphasizes that accurate, complete song data is critical to proper payment. CMRRA operates an Unclaimed Works Portal for unmatched recordings and unverified shares. These gaps exist — and they cost money if no one is watching.
A sync opportunity involves two separate assets, negotiated independently: the publishing side (lyrics, melody, songwriting — represented and administered by the publisher) and the recording side (the specific recorded performance — controlled by whoever owns the master, artist or label).
Both licences are usually needed for a placement. Having a publisher means someone is already prepared and relationship-ready when the call comes in.
A composition can have a commercial life entirely separate from the original recording — earning royalties when someone else records it, when a production places it, or when a digital service exploits it.
A publisher maintains the rights information and administration behind all of those uses, so when an opportunity arrives, it can be handled properly rather than figured out on the fly. Thinking only as a recording artist means focusing on one recording; thinking as a writer and publisher means the composition itself is an asset that can work across many recordings and uses.
Potentially — yes. In a traditional publishing relationship, the publisher may receive partial ownership or control of the compositions, along with a percentage of the income they generate. Every deal is different, so reading the agreement carefully matters.
Before signing, understand clearly: which compositions are included, what rights are being transferred, whether ownership itself is transferred, the publisher's percentage vs. yours, the term and territories, what happens when it ends, and what the publisher is contractually required to do.
Evaluate the proposition on this basis: can the publisher's administration, expertise, relationships, and catalogue exploitation create, identify, or collect income that would otherwise be missed — or require substantial personal time to pursue?
Pricing is per song. Final quote confirmed after project discussion.
This section is still in development — check back soon, or get in touch if you'd like to discuss it directly.