Own what you love.
Everywhere else, you rent. You pay every month, and the day you stop, or the day a licence runs out, the music, the film and the book are gone, and the person who made them was paid a fraction of a cent.
On nommo you buy the work once and it is yours for good. The creator keeps most of what you paid.
What one collector is worth
The same ten dollars, two ways.
plays, before a creator has earned $7. Streams pay about $0.003 to $0.005 each, and that is before a label or distributor takes its part.
One person buys a $10 work and the creator keeps $7. That person owns it for good, and if they later pass on a limited edition, the creator is paid again.
You own it, and it stays yours
- It is yours
Pay once and own the work outright. No subscription, and nothing that vanishes when a licence deal ends or a card expires.
- It has a history
Every copy carries a record of where it came from and who has held it, sealed where nommo itself cannot alter it.
- You can lend it or give it away
Lend a work to a friend for a week or a month, or give it for good. While it is out, it is out, as with a record or a book.
- It can be worth something
A limited edition can be passed on through nommo’s own resale market, and the creator earns again when it is.
- Everything in one place
Music, film and books in one collection, each in a player or reader built for it. Not a folder of download links.
- No adverts, anywhere
nommo carries no advertising. Nothing plays before, during or after a work, and no algorithm decides what you hear next. nommo is paid when a work is sold, not by selling your attention.
You are paid like it matters
- 70% of every sale, straight to your bank
A flat 70%, on any format at any price. It is split off the moment a collector pays and goes straight to your own bank. No wallet and no withdrawal to ask for. Only ticket money for a live show is held, until the show has taken place.
- What nommo’s 30% pays for
Hosting and playing your work so it can never be downloaded, the room it is enjoyed in, the record of who owns it, lending, gifting and resale with your royalty, and a place where new collectors find you. No monthly plan, ever.
- Paid again on resale
When a limited edition changes hands, you earn a 10% royalty on that sale too. A stream or a download never pays twice.
- You know who collects you
Your collectors are people, not a play count. You can thank them, offer one a signed edition, or name a price for one person.
- One home for all your work
Songs, albums, films, books, courses and live events under one profile, in place of five profiles that each pay a little.
- Credit and honesty built in
Every work carries its credits and says plainly how AI was used, if at all, so your work is not mistaken for something it is not.
- Bring others, at no cost to you
Anyone you bring to nommo earns you a reward on their first purchase or sale. It comes out of nommo’s own fee, never out of your 70% or the collector’s price.
Built so that “for good” means it
A promise of ownership is only as good as what stands behind it. Three things stand behind this one.
A mission held apart from the company
The nommo Institute holds the purpose of nommo in perpetuity, separate from the company that runs the platform.
The nommo Institute →A plan for what you own, whatever happens
nommo has written down what becomes of your collection if the platform ever changes hands or closes.
The Continuity policy →A record nobody can quietly rewrite
The ownership record is sealed daily against a public timestamp, so its history can be checked without taking nommo’s word for it.
How nommo keeps it safe →Point by point
nommo beside the platforms you already know, on what each one publishes about itself.
A revocable license to stream or access something, whether it’s a song, a show, or a course. Netflix, Disney+, Apple TV+, Spotify, and the rest all work the same way underneath: keep paying, or lose it. Cancel, and it’s gone.
A work you own outright, with its own provenance record and, when the creator issues one, a verified digital autograph.
Bandcamp keeps 10 to 15% before payment processing. Patreon takes 8 to 12%. Substack takes about 10%. Spotify pays no per-sale share at all. Streams average $0.003 to $0.005 each, split further with labels and distributors before an artist sees a cent.
A flat 70% to the creator on every sale. No label. No distributor. No extra cut.
Store builders take less per sale. Selar, for one, takes 4% plus ₦50 on a sale in Naira, and charges ₦12,000 to ₦50,000 a month to host courses and video. Hosting, protecting and delivering the work are the seller’s to arrange: many send a download link, or an invite to a Telegram channel or a Google Drive folder.
nommo’s 30% covers all of it, with no monthly plan: the work hosted and played on nommo and never downloadable, a room to enjoy it in, the record of who owns it, lending, gifting and resale with the creator’s royalty, and a place where new collectors find the creator. At $25 a course, a teacher selling three a month keeps more on nommo than on that course plan.
Amazon KDP also advertises a 70% royalty, but only for ebooks priced $2.99 to $9.99, only in a specific list of countries, and only after a delivery fee charged per megabyte is deducted. Price a book outside that band, or sell in an unlisted territory, and the rate drops to 35%.
nommo’s 70% is the whole story. Any work, any format, any price, no delivery fee subtracted, no band to stay inside.
Direct storefront tools like Gumroad and Selar are built to process a sale, take their fee for it, and hand over a file. What happens after checkout isn’t really their concern, there’s no resale market, no ownership record, no way to lend what was bought.
A nommo sale comes with a provenance record from the start, a real resale market where the creator keeps earning a royalty, and the ability to lend or gift what was bought. A checkout is the beginning here, not the whole product.
YouTube’s Partner Program splits ad revenue 55/45 with creators, a cut of a pooled, view- and CPM-dependent ad pool that moves with the market, not a price any one fan agreed to pay for any one thing.
A flat 70% of the actual price a collector paid for the specific work they bought. Doesn’t move with views, CPMs, or an ad market.
Nothing changes hands, because nothing ever really did. A subscription or a stream has no resale value.
A collector can resell a limited-edition work on nommo’s own resale market, at whatever price a buyer agrees to pay, and the creator earns a royalty on that resale too. That secondary market doesn’t exist on any platform above.
Not possible. You can’t lend a Spotify stream or a Substack subscription to a friend.
A collector can lend a work for 7, 14, or 30 days, or gift it permanently. Their own access pauses while it’s out, just like handing over a physical copy.
Patreon’s tiered memberships come closest, but that’s a recurring subscription for perks, not a one-time offer tied to one work.
A creator can personally offer a fan a name-your-own-price or autographed edition of one specific work. No subscription required.
One job each. Spotify streams audio. Substack hosts text. Bandcamp sells audio, with limited video. Switching formats means switching apps.
Listen, Watch, Read, and Live, all under one account and one collection.
A download link or an attachment, sitting in an inbox or a folder. Nothing was built to hold it, browse it, or bring it back to.
A real home for every format inside one collection: music in an actual player, a book on a real shelf, a film in a real watch view. Not a file. A library.
Chasing every platform at once, Instagram, YouTube, Substack, Patreon, Bandcamp. Being everywhere rarely means getting paid anywhere.
One nommo profile is the only storefront a creator needs, every format, one place, built to actually make a living from.
An algorithm decides what surfaces. The logic stays hidden.
A curated radio, programmed by nommo with real on-air moments and DJ interludes. Not a black box.
No standard disclosure requirement for AI-generated or AI-assisted content.
Every work carries its own AI-usage disclosure and credits, so a collector always knows what they’re collecting and who made it.
Where these figures come from
Figures are what each platform publicly discloses as of mid-2026. Selar’s fees and plans are from its own pricing page, October 2026. Bandcamp’s digital revenue share is 15%, dropping to 10% after $5,000 in lifetime sales, plus 4 to 6% payment processing. Patreon’s platform fee runs 5 to 12% depending on plan, plus payment processing. Substack’s standard fee is 10%. Spotify’s average reported per-stream royalty runs $0.003 to $0.005, a gross pool figure split further with labels and distributors before an independent artist is paid, not a direct sale share. Amazon KDP’s 70% ebook royalty applies only between $2.99 and $9.99 list price in its eligible countries, minus a delivery fee charged per megabyte, every other price or territory earns 35% (kdp.amazon.com’s own published royalty terms). YouTube’s Partner Program splits ad revenue 55% to the creator, 45% to YouTube, unchanged since the program’s 2007 introduction, a share of a pooled ad market rather than a price paid for one specific work. Gumroad and Selar aren’t compared here by percentage, both are checkout tools rather than ownership platforms, the difference described above is structural, not a claim about who charges less. Netflix, Disney+, and Apple TV+ have no per-work creator marketplace to compare a fee against at all, they’re named only for what a fan gets: a subscription, not a copy. Every platform’s terms can change. Check their current published rates before repeating these numbers anywhere that needs to stay accurate.
The comparison of one sale with streams is arithmetic on the per-stream range above: 70% of a $10 sale is $7, and $7 divided by $0.005 and by $0.003. The Spotify earnings count is from Spotify’s Loud & Clear report. The figure for creators across Africa is from the Africa Creator Economy Report 2026, as reported by Techpoint Africa.
Own what you love.
Pay once. Keep it for good. Pay the person who made it.