Renting isn't owning. Here's the difference.
Streaming and subscription platforms built real infrastructure for creators to reach an audience. But they never built a way for anyone to actually own anything. nommo fixes that.
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.
Amazon KDP also advertises a 70% royalty, but only for ebooks priced $2.99–$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.
Figures are what each platform publicly discloses as of mid-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.