We become the publisher (admin only, you keep your rights): we register every song, fix the splits and claim what is owed, back to the oldest period still open. No upfront fee — a commission on what comes back.
The song (what you wrote) and the recording (what you recorded) are paid separately, by different organisations. Streams are only one source — radio, TV, live and public places matter as much or more for songwriters.
Publishing · the song
Songwriting money
Paid to writers and publishers by authors' societies (SIAE, SACEM, GEMA, PRS…), your publisher, and The MLC in the US.
Streaminga small slice of every stream (mechanical + performance)estimated below
Radio & TVoften the biggest item for songwriterspublic radio plays below
Live showsa share of ticket sales, if the setlist is reportedin the Live tab
Shops, bars, gyms, venuesbackground music licencesnot estimated yet
Syncads, films, series, games — by contractnot estimated yet
Downloads & CDsmechanical royalties on salesfrom your own files
Abroadcollected by local societies, passed back to yoursfrom your own files
Recording · the master
Recording money
Paid to the artist and label by the distributor, and by performers' and producers' societies (NUOVOIMAIE, PPL, GVL…).
Streaming & salesthe bulk of stream money — paid by your distributor, not a society
Unclaimed money lists
93 entries are very likely yours
Some societies publish the songs and recordings they collected money for but could not pay — and the artists they cannot reach — so rightsholders can come forward.We checked 933,311 entries from STIM (Sweden), OSA (Czechia), SOZA (SK), MESAM (Türkiye), GEMA (Germany), GVL (Germany), Gramex (Finland), SAYCO (CO).
Likely yours
93
same ISRC, your name with one of your titles, or with a real co-writer of yours
To check
13
same full name on a list from a country you're linked to — may be someone else
ACIS AND GALATEA, HWV 49: 15. AIR. O RUDDIER THAN THE CHERRY (POLYPHEMUS)Very likely yours
Gramex (Finland) — Radio plays in Finland that Gramex could not match to a registered recording · ref 2092851
Matched: performer GEORGE FRIDERIC HANDEL with one of your titles
How to claim: Register the recording with Gramex (or ask your neighbouring-rights society to) quoting the Gramex ID. Official list ↗
ACIS AND GALATEA, K. 566 (OVERTURE AND PRELUDE TO ACT II)Very likely yours
SOZA (SK) — Works used in Slovakia that SOZA could not identify (the last three collection years, each claimable for 3 years) · ref 2202084
Matched: writer GEORGE FRIDERIC HANDEL with one of your titles · SV25
How to claim: Contact SOZA through the page above, or ask your own society to claim it, within 3 years of the collection year. Official list ↗
ACIS AND GALATEA, K. 566 (OVERTURE AND PRELUDE TO ACT II)
How to retrieve — get the iswc confirmed
Ask your society for the ISWC of the work. No ISWC often means an incomplete registration.
Complete what is missing (writers, splits, publisher) so the code can be assigned.
Share the ISWC with your distributor and publisher so platforms can match plays to the work.
Two lines from the map above: the songwriting slice of your streams, and an estimate of neighbouring rights for the recordings you play on. The recording money your distributor pays for streams is not here — it is already in your distributor statements.
iHow this is calculated
Calculated automatically from 2 listens on ListenBrainz, an open listening panel that is much stronger in the UK and US than in most other countries — so elsewhere it is often an underestimate.
Plays are scaled to all services, then multiplied by a per-play rate and by your share of the songwriting.
Make it precise with your own numbers— optional, stays in your browser
Expected · public estimate · every 6 monthsNot enough data
Songwriting · from streams
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Recording · neighbouring rights
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Have your distributor report?
Drop it in and the figures come from your real streams, country by country — it never leaves your browser.
Orgel concerto Nr. 1 g-moll, op. 4,1: 1. Larghetto e staccato · Orgel concerto Nr. 1 g-moll, op. 4,1: 2. Allegro · Orgel concerto Nr. 1 g-moll, op. 4,1: 3. Adagio - · Orgel concerto Nr. 1 g-moll, op. 4,1: 4. Andante · Orgel concerto Nr. 2 B-dur, op. 4,2: 1. A tempo ordinario, e staccato · Orgel concerto Nr. 2 B-dur, op. 4,2: 2. Allegro · Orgel concerto Nr. 2 B-dur, op. 4,2: 3. Adagio, e staccato - · Orgel concerto Nr. 2 B-dur, op. 4,2: 4. Allegro, ma non presto · Orgel concerto Nr. 3 g-moll, op. 4,3: 1. Adagio · Orgel concerto Nr. 3 g-moll, op. 4,3: 2. Allegro · Orgel concerto Nr. 3 g-moll, op. 4,3: 3. Adagio - · Orgel concerto Nr. 3 g-moll, op. 4,3: 4. Allegro · Orgel concerto Nr. 4 F-dur, op. 4,4: 1. Allegro · Orgel concerto Nr. 4 F-dur, op. 4,4: 2. Andante · Orgel concerto Nr. 4 F-dur, op. 4,4: 3. Adagio - · Orgel concerto Nr. 4 F-dur, op. 4,4: 4. Allegro · Orgel concerto Nr. 5 F-dur, op. 4,5: 1. Larghetto · Orgel concerto Nr. 5 F-dur, op. 4,5: 2. Allegro · Orgel concerto Nr. 5 F-dur, op. 4,5: 3. Alla Siciliana · Orgel concerto Nr. 5 F-dur, op. 4,5: 4. Presto · +26 more
Live shows
What your concerts should pay you
Estimated · 9 of 11 shows found on setlist.fm since 1709€357 – €4,293for you, if every setlist was reported
iHow this is estimated
Assumed 100–500 paid tickets per show (from how much your music is listened to) at a typical local price (e.g. €15–40), × each society's published concert tariff, × the share of the set that is your own songs, × your share of the writing (50%, assumed).
By currency: £240 – £2,800 · €75 – €1,000. Added up in euros at the European Central Bank reference rates of 2026-10-02.
Put your real ticket numbers on the shows page for a precise figure. Countries without a published tariff (e.g. the US) aren't counted.
