Reading releases, one by one…
Finding the profile. The first time takes a while — after that it opens instantly.
Person · GB
| Year | Releases |
|---|---|
| 1949 | 1 |
| 1950 | 0 |
| 1951 | 0 |
| 1952 | 0 |
| 1953 | 0 |
| 1954 | 0 |
| 1955 | 0 |
| 1956 | 0 |
| 1957 | 0 |
| 1958 | 1 |
| 1959 | 0 |
| 1960 | 0 |
| 1961 | 0 |
| 1962 | 0 |
| 1963 | 1 |
| 1964 | 0 |
| 1965 | 0 |
| 1966 | 1 |
| 1967 | 0 |
| 1968 | 1 |
| 1969 | 1 |
| 1970 | 4 |
| 1971 | 3 |
| 1972 | 4 |
| 1973 | 1 |
| 1974 | 0 |
| 1975 | 0 |
| 1976 | 0 |
| 1977 | 1 |
| 1978 | 1 |
| 1979 | 0 |
| 1980 | 1 |
| 1981 | 1 |
| 1982 | 1 |
| 1983 | 3 |
| 1984 | 2 |
| 1985 | 6 |
| 1986 | 4 |
| 1987 | 11 |
| 1988 | 7 |
| 1989 | 12 |
| 1990 | 8 |
| 1991 | 16 |
| 1992 | 6 |
| 1993 | 1 |
Potentially at risk · per year
Sizing what may be missing…
Reading releases, one by one…
Reading credits from public databases. The first time takes a while — after that it opens instantly.
Potentially at risk · per year
38 songs flagged. Every discrepancy, where it is and how to fix it, is below. Want every song checked at every society? Get the full report.
Plays are estimated from ListenBrainz listening data, scaled to all streaming services.
Publishing: estimated plays × writer-side rate × the chance the song is really unregistered.
Neighbouring rights: a radio and public-performance proxy for tracks where you perform or produce.
An indicative estimate, not a statement of money owed. Full method →
Publishing · the songs
Paid by authors' societies (SIAE, SACEM, PRS…) to writers and publishers. We read open music databases; your society's own register is the final word.
Recording · the masters
Paid by performers' and producers' societies (NUOVOIMAIE, PPL, GVL…) for radio and public play.
Composition, writers, ISWC and ISRC are all in public data for these — the basics that let societies match plays to you.
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.
A Pastoral Symphony (no. 3) / Symphony no. 4 · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Pastoral Symphony (no. 3) / Symphony no. 4 · 1992
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
Composition has no ISWC in public databases
A London Symphony / Norfolk Rhapsody No. 1 / Fantasia on a Theme by Thomas Tallis · 1993
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
Composition has no ISWC in public databases
A Pastoral Symphony (no. 3) / Symphony no. 4 · 1992
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
Composition has no ISWC in public databases
A London Symphony / Norfolk Rhapsody No. 1 / Fantasia on a Theme by Thomas Tallis · 1993
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Pastoral Symphony (no. 3) / Symphony no. 4 · 1992
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
Composition has no ISWC in public databases
A London Symphony / Norfolk Rhapsody No. 1 / Fantasia on a Theme by Thomas Tallis · 1993
Composition has no ISWC in public databases
A London Symphony / Norfolk Rhapsody No. 1 / Fantasia on a Theme by Thomas Tallis · 1993
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
Composition has no ISWC in public databases
A Pastoral Symphony (no. 3) / Symphony no. 4 · 1992
Composition has no ISWC in public databases
A London Symphony / Norfolk Rhapsody No. 1 / Fantasia on a Theme by Thomas Tallis · 1993
Composition has no ISWC in public databases
A London Symphony / Norfolk Rhapsody No. 1 / Fantasia on a Theme by Thomas Tallis · 1993
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Sea Symphony · 1992
Composition has no ISWC in public databases
A Pastoral Symphony (no. 3) / Symphony no. 4 · 1992
Composition has no ISWC in public databases
A Pastoral Symphony (no. 3) / Symphony no. 4 · 1992
Composition has no ISWC in public databases
Flos Campi / Suite for Viola and Orchestra / The Running Set / Hymn Tune Preludes · 1992
33 as conductor · 29 as arranger · 2 as vocal · 1 as misc
Producers and session players are often missing from platform credits and from neighbouring-rights registrations.
Signals come from public databases and can be wrong or incomplete; a missing code here does not prove a song is unregistered.
Neighbouring rights in the US can also be checked directly on SoundExchange's ISRC search ↗.
For the parts we can't estimate from public data, your own files are exact: add your distributor report and society statements.
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.
Calculated automatically from 330 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.
Each of these should earn on both sides: the song (authors' society) and the recording (performers' and producers' societies).
Playlists published by public broadcasters, loaded every night (back to 4 Apr 2026): BBC Radio 2 (United Kingdom), Sveriges Radio P3 Din gata (Sweden), Sveriges Radio P1 (Sweden), triple j Unearthed (Australia), BBC Radio 3 (United Kingdom), Sveriges Radio P2 (Sweden), Sveriges Radio P3 (Sweden), KEXP 90.3 FM Seattle (United States), Sveriges Radio P4 Stockholm (Sweden), BBC Radio 6 Music (United Kingdom), ABC Jazz (Australia), ABC Classic (Australia), triple j (Australia), BBC Radio 1Xtra (United Kingdom), Double J (Australia), BBC Radio 1 (United Kingdom).
Commercial radio, TV and most countries don't publish playlists, so a song missing here can still be played elsewhere. These plays are what authors' and performers' societies pay on — compare them with your statements.
Drop it in and the figures come from your real streams, country by country — it never leaves your browser.
Fantasia on a Theme by Thomas Tallis · Symphony No. 2 in G major "A London Symphony": I. Lento · Symphony No. 2 in G major "A London Symphony": II. Lento · Symphony No. 2 in G major "A London Symphony": IV. Andante con moto; Maestoso alla marcia; Allegro; Lento; Epilogue · Norfolk Rhapsody No. 1 · Symphony No. 2 in G major "A London Symphony": III. Scherzo (Nocturne); Allegro vivace
Flos Campi · A Pastoral Symphony: III. Moderato pesante · A Pastoral Symphony: I. Molto moderato · Symphony No. 1, "A Sea Symphony": Ia. A Song for All Seas, All Ships: Behold, the sea itself · Symphony No. 1, "A Sea Symphony": Ib. A Song for All Seas, All Ships: Today a rude brief recitative · Symphony No. 1, "A Sea Symphony": Id. A Song for All Seas, All Ships: Token of all brave captains · Symphony No. 1, "A Sea Symphony": IIa. On the Beach at Night, Alone: On the beach at night, alone · Symphony no. 4: IV. Finale (Allegro molto) con epilogo fugato (Con anima) · Suite for Viola and Orchestra: Group 1: Christmas Dance · Symphony No. 1, "A Sea Symphony": IVa. The Explorers: O vast Rondure, swimming in space · Suite for Viola and Orchestra: Group 1: Carol · A Pastoral Symphony: II. Lento moderato · Suite for Viola and Orchestra: Group 2: Ballad · Suite for Viola and Orchestra: Group 3: Musette · Suite for Viola and Orchestra: Group 3: Galop · Symphony No. 1, "A Sea Symphony": IVc. The Explorers: O we can wait no longer · A Pastoral Symphony: IV. Lento · Suite for Viola and Orchestra: Group 1: Prelude · Suite for Viola and Orchestra: Group 2: Moto Perpetuo · Suite for Viola and Orchestra: Group 3: Polka · +12 more
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 (93%).
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.