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.
Person · JP
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.
Producer royalties
Most of Sena's money comes from producer agreements: points paid by labels on 1 credits, and in some countries a share of performer money. Public data can't size those, so we don't put a figure on them.
Want every credit checked? Get the full report.
Publishing · the songs
Open databases don't credit Sena as a writer on any of these songs, so their songwriting money goes to the credited writers.
If Sena 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.
1 as producer · 1 as remixer
All 1 credits checked.
| Year | credits |
|---|---|
| 2025 | 1 |
Files you add are read in your browser; amounts never leave it.
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.
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 255 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): BBC Radio 3 (United Kingdom), Double J (Australia), BBC Radio 1Xtra (United Kingdom), KEXP 90.3 FM Seattle (United States), triple j Unearthed (Australia), ABC Jazz (Australia), ABC Classic (Australia), Sveriges Radio P1 (Sweden), BBC Radio 2 (United Kingdom), triple j (Australia), Sveriges Radio P2 (Sweden), Sveriges Radio P3 (Sweden), Sveriges Radio P4 Stockholm (Sweden), Sveriges Radio P3 Din gata (Sweden), BBC Radio 1 (United Kingdom), BBC Radio 6 Music (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.
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.