Reading releases, one by one…
Finding the profile. The first time takes a while — after that it opens instantly.
Reading releases, one by one…
Finding the profile. The first time takes a while — after that it opens instantly.
Group · US
No dated releases found.
Potentially at risk · per year
Sizing what may be missing…
Reading releases, one by one…
Reading credits. The first time takes a while — after that it opens instantly.
Potentially at risk · per year
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 →
Open data looks complete. Statements are the final word: add yours below to check the real figures.
Publishing · the songs
Open databases don't credit Bill Haley and the Saddlemen as a writer on any of these songs, so their songwriting money goes to the credited writers.
If Bill Haley and the Saddlemen co-wrote some of them, the writer credit is missing, and that is money worth checking.
Recording · the masters
Paid by performers' and producers' societies (NUOVOIMAIE, PPL, GVL…) for radio and public play.
Files you add are read in your browser; amounts never leave it.
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.
For the parts we can't estimate automatically, 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 0 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.
Playlists published by public broadcasters, loaded every night (back to 5 Oct 2025): Sveriges Radio P3 Din gata (Sweden), BBC Radio 1 (United Kingdom), BBC Radio 1Xtra (United Kingdom), BBC Radio 2 (United Kingdom), triple j Unearthed (Australia), BBC Radio 6 Music (United Kingdom), ABC Jazz (Australia), ABC Classic (Australia), triple j (Australia), Double J (Australia), BBC Radio 3 (United Kingdom), Sveriges Radio P1 (Sweden), Sveriges Radio P2 (Sweden), KEXP 90.3 FM Seattle (United States), Sveriges Radio P3 (Sweden), Sveriges Radio P4 Stockholm (Sweden).
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.
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).
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.